Harriet

Archive for October, 2008

Travis Nichols

Google Alert!


The poetry news website Choriamb announced it will be hanging up its press chapeau after five years of linking to all the verse news fit to peruse. The site had been a labor of love for Tanya Angell Allen since August 2004, when she co-founded the site with Becky Rodia, according to the site’s info page.
In announcing the change from news and reviews to “something new,” Choriamb offered up the “Top Four Places to Find Poetry News” in its stead, including Jilly Dybka’s Poetry Hut, Poetry News Daily, and the Poetry Foundation’s own Dispatches page. In its description Choriamb suggested that the PoFo “seems to draw a lot from Google News,” which got me thinking about that particular new fangled clippings service, especially in relation to the previously (endlessly?) discussed Pirate Poetry Anthology.

Linh Dinh

Impossible Life

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If This is a Man
You who live safe
In your warm houses,
You who find, returning in the evening,
   Hot food and friendly faces:
   Consider if this is a man
   Who works in the mud
   Who does not know peace
   Who fights for a scrap of bread
   Who dies because of a yes or a no.
   Consider if this is a woman,
   Without hair and without name
   With no more strength to remember,
   Her eyes empty and her womb cold
   Like a frog in winter.
Meditate that this came about:
I commend these words to you.
Carve them in your hearts
At home, in the street,
Going to bed, rising;
Repeat them to your children,
   Or may your house fall apart,
   May illness impede you,
   May your children turn their faces from you.

–from Primo Levi’s preface to his Holocaust memoir, translated from the Italian by Stuart Woolf

An archaic definition of “to strike” is to lower a sail, since disgruntled sailors formerly struck sails to disable a ship. Thus, to remove from production any tool, including one’s own body, is to go on strike.
One retaliates, flails at the man by doing nothing, since this refusal is the most convenient weapon at one’s disposal. A striking worker is not dissimilar to a sulking child if not an abbreviated saint. Withdrawing into myself and becoming immobile, I’ll not play, chatter, buy anything or fuck anybody any more.
No one wants to hang with you anyway, asshole.

From every fresh or foul mouth, an invitation, every dusky door, lolling, expectant figures on some funky couch. Fingers beckon. I see bright teeth. In this come-on universe, it takes strength or satiety to just say no and turn away, but many have never been invited to the gorge now, pay-later-with-interest bash. Worldwide, a billion people live in slum conditions. In 2005, the wealthiest 20% accounted for 76.6% of private consumption. The poorest fifth, 1.5%. Ten million starve to death each year, thirty thousand a day. Enough already, stop getting so righteous. Who do you like in the World Series? I say Phillies in six games. They’re hungrier.

Wanda Coleman

IN DREAMS BEGIN POEMS

During private study with Clayton Eshleman in the early 70s, my friend Sylvia Rosen (Dreaming the Poem: a dream journal, Red Wind, 1994) became intrigued with Kilton Stewart’s Senoi Dream Theory, practiced by an obscure Malaysian people. This led her to Patricia Garfield’s Creative Dreaming. Inspired by the poetic potential she sensed in these matters, later controversial, Sylvia studied with Stewart’s widow, Clara Stewart Flagg at Everywoman’s Village in Van Nuys, California. Over twenty-odd years, whenever we discussed our writings, we also discussed her delvings into a process Sylvia called “dreaming the poem,” as well as the more complex “redreaming.” (Disturbingly, this overlapped with Nightmare on Elm Street.) In my teens, I had spent library time on Carl Jung’s writings. This was different. As I recall, Sylvia kept a bedside journal, a very old idea, but something my urban-jungle lifestyle ruled out. However, like Sylvia, I was a constant and intense dreamer, to the extent that I often felt that I lived an alternative life—in vivid color, sometimes as exhausted upon waking as I had been the night before. I might be haunted by a dream for hours, days. When at the typewriter, I began contemplating how one might structure poems from particularly vivid dreams. It seemed a simple but elusive idea, if deliciously surreal. I finally made it work. Looking back, though, whenever I did succeed at turning dream stuff into poems, my efforts seem to have corresponded to those talks with Sylvia, back in the day.

Olena Kalytiak Davis

THIS MAN ALSO KNEW HOW TO SIT AT A KITCHEN TABLE

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However, this:
“The simplest way I have found to make clear my own sense of writing…is to use the analogy of driving. The road, as it were, is creating itself MOMENTLY in one’s attention to it, there, visibly, in front of the car. There is no reason this should go on forever, and if one does so assume it, it very often disappears all too actually.”

Forrest Gander

Before the Elections: The Darkness Surrounds Us

A recent Harriet entry by Olena Kalytiak Davis begins “As Mother Said” and soon enough mentions “driving.” The combination reminds me that I’ve wanted to write something about Robert Creeley’s famous poem, “I Know a Man.” This particular moment in American history makes it all the more timely.
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Robert Creeley in Bolinas, CA

Olena Kalytiak Davis

AS MOTHER SAID OVER MY NINE YEAR OLD HEAD

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“many, if not most, children exhibit an early talent for art or science, even intellection; but we can never predict the one whose youthful giftedness will blossom not into a pastime, but a driving need, the kind that determines the course of one’s life…in creative work, the driving need occurs when the talent is exercised, the possessor of it finds that she or he is struck to the heart (not a thing that happens simply because one has talent) and a sense of expressive existence flares into BRIGHT LIFE. that experience is incomparable. it induces the conviction of inner clarity that quickly becomes the very thing that one can no longer do without. If it can be done without, it usually is…”

Lavinia Greenlaw

Emily Dickinson explodes

So did she or didn’t she and do we care? Travis Nichols is right to question the misguided investment made in how a poet goes about things and what they were wearing at the time, although there is sometimes something to be gained from putting the books down and going there.
I lived in Amherst for five months and failed (quite unconsciously) to visit the Dickinson home. I sat in an apartment belonging to the college founded by her grandfather, and read her poems and letters instead. It helped to be there under her sky (what could be seen of it through all those trees) and to get a sense of life in the kind of place you felt yourself entering or leaving, but I had no curiosity about her chairs and tables, let alone what action might have been seen by her sofa.
Some years later, I went back to make a radio programme about her and so had to get over myself and go inside.

Fred Sasaki

Legendary, Lexical, Loquacious

Every year Poetry hosts a gathering for Chicago literary publishers called the Printers’ Ball. Over 100 local literary organizations showcase a diverse selection of print publications, available free of charge, including magazines, journals, weeklies, posters, and broadsides, plus a full night of live entertainment. See, hear, and read all about it, or get the gist from Poetry contributor Robert Archambeau’s blog post at samizdat.
Recently the editor of Sara Ranchouse Publishing, Sally Alatalo, stopped by the Foundation offices to collect the leftover books she exhibited at this year’s Ball…but we didn’t let her leave with them. Keep reading to see why.

Javier Huerta

Literature of the Undocumented

I recently submitted a course description for a class I will be teaching next semester (si Dios quiere).

Javier Huerta
English R1B
Literature of the Undocumented
Book List: Diary of an Undocumented Immigrant, Ramón Tianguis Pérez; The People of Paper, Salvador Plascencia; The Elements of Style, Strunk and White.
A Course Reader will have additional readings.
Films: Bajo la misma luna/Under the Same Moon; (short film) AB 540 The Movie.
Course Description:
It is a curious thing how many documents attempt to document the undocumented. The texts we will read this semester ask us to engage our critical reading and writing skills on the topical question of undocumented immigration. We will turn our critical attention to articles from both sides of current debates on immigration in order to analyze and evaluate the efficacy of those arguments. In the literary works—a novel, a nonfiction diary, and poems—we will focus on those characters that are either defined by documents or by the lack of documents. We will also look at the significance of documents in our lives: birth certificates, driver’s licenses, school identification cards, passports, death certificates, etc.
The primary goal of this class is to develop students’ practical fluency in argumentative writing and research skills. Taking these texts as occasions to produce further writing on documents and the undocumented, students will write a couple of short writing assignments and a couple of long argumentative essays (each 8-10 pages long).

This class is one I believe I am uniquely qualified to teach and one I wish to continue to adapt and develop for different courses and different levels throughout my teaching career (si Dios quiere).

Travis Nichols

Making Out with Emily Dickinson

Mount Holyoke professor Christopher Benfey has an essay up on Slate.com that posits the “wild nights” of Emily Dickinson may not have just been spinster fantasy.
“[Dickinson’s] exile on Main Street has seemed a necessary part of the Dickinson myth, so necessary, indeed, that contrary information—which happens to have been piling up lately—has often been discounted or ignored,” Benfey writes, “the notion of Emily Dickinson making out in her living room is so foreign to our conception of her that her autumnal tryst with Judge Lord has never become part of the popular lore about her.”
Do tell!

CONTRIBUTING WRITERS

Anselm Berrigan
Abigail Deutsch
Tonya Foster
Melissa Friedling
John S. O'Connor
Barbara Jane Reyes
Amber Tamblyn
Edwin Torres

STAFF WRITERS

Cathy Halley
Michael Marcinkowski
Travis Nichols
Fred Sasaki
Don Share

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