Libraries & book love

In my last post, I drifted onto the topic of libraries–and stirred up images of favorite places. Libraries have certainly been among my favorite places and loom large in my childhood memories. Two of those libraries were new when I entered their doors: the Grinton I. Will Library in Yonkers, NY, which opened in 1962 (I first visited in 1964) and the W. Leslie Rogers Library in Pennsauken, NJ, which opened its doors in 1971. I recall a few distinct discoveries even from my first-grade forays to the Yonkers library. It was there I discovered Richard Wilbur’s Digging for China, a book I adored.

Free public libraries represent one of the best uses and most noble purposes of the tax dollars and philanthropic gestures of citizens in a democratic society. These buildings, some grand and some exceedingly modest, harbor banned books and out-of-print books and sections devoted especially to children’s books; a library admits of free speech and liberated thinking for people of all ages. A library, by its very existence, reminds citizens that education matters and that information can be free, can be borrowed, can be disseminated and shared.

When I was a child, libraries were safe places to hide, to explore, and to pursue my own interests–which often varied quite a bit from the interests of my peers. The library in Pennsauken offered me an early education on visual art. I probably borrowed every book in the place that had anything to do with art or artists, from Aesthetic Inquiry; Essays on Art Criticism and the Philosophy of Art to The Agony and the Ecstasy. The library stocked a book chronicling  the letters of Theo and Vincent van Gogh as well as huge, heavy, hard-cover museum books with color plates of famous artwork. Some of these were stamped more than a few times with my library card’s number.

I also borrowed, and read–enthusiastically and, occasionally, dutifully–classic novels that I had somehow learned I “ought” to read. I read a fair number of junky novels, too, and young adult fiction, and children’s books. Even though I was nearly ten when Leo Lionni’s Frederick was published, I loved it and never considered it a “little kid’s book.” Interestingly, Frederick the mouse gathers images and turns them into words. He is a poet. (A word-artist).

Books: Anything, everything, as bibliophile overlaps with autodidact.

Books were my first and often my best teachers, though I have been fortunate enough to have had some wonderful teachers (formal and informal) in my life. One of them, my grandmother Edna Michael, will always be closely associated with libraries in my heart and memory. She was the Story Lady at her small-town library in South Whitley, IN; and my siblings and I spent many hours in the small white building that housed South Whitley’s free circulating books. We read, and we listened to her read. She would don “an olden-times dress” she’d designed and sewn herself, tie on a large matching bonnet, and gather the town’s youngsters in a circle on the library floor for story time.

She always left the library with at least a couple of grownup books for her own reading material. I was proud to be like her.

A few years ago, the town enlarged its library, added a new children’s wing, and dedicated it in my grandmother’s name. Edna Michael, the Story Lady.

I’m pretty proud of that, too.

ann e michael

The South Whitley Library as it was in 1967, with my grandmother in her Story Lady attire.

“Not Writing”

~

Above, a lovely Jane Kenyon poem and a brief, relevant post from Deborah Barlow, artist, from her blog Slow Muse.

Deborah Barlow's avatarSlow Muse


Wasp’s nest: Entrances abound, but are hidden

Not Writing

A wasp rises to its papery
nest under the eaves
where it daubs

at the gray shape,
but seems unable
to enter its own house.

–Jane Kenyon

This poem is so succinct and so artfully constructed. Haven’t we all had that daubing frustration of madly circling and yet not being able to enter in to where we need to be?

The texture of my life in the studio is like the texture of my life in general: full tilt highs, full tilt lows, and lots of miles in between.

I’m just back from three magical days in Vermont, visiting friends and basking in a landscape that is richly rewarding on so many levels. I didn’t miss being in the studio once. In fact this protracted channel change felt like much needed relief from a fierce summer stance to rouse the inchoate…

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Poems that help us to endure

I’ve recently completed reading Eugenia Semyonovna Ginzburg’s memoir Journey into the Whirlwind. What has struck me about the memoir is, in particular, Ginzburg’s reliance on poetry as a means to enduring prison, deprivation, oppression.

In several selections, she reiterates how reciting or recalling poetry–Pushkin, Pasternak, Blok, Mandelstam, and lesser-known (to us Westerners) poets such as Tyutchev, Chorny & Nekrasov–gave her hope or encouraged her to keep on in the face of awful situations, or just to remind her that others have endured harsh and terrible conditions and found the means to express themselves despite it all.

I believe poems–and art of all varieties–help us to endure. Some poets who have helped me to endure include Anna Akhmatova, Mark Doty, Mary Oliver, Gregory Orr, John Donne, Yehudi Amichai, Stanley Kunitz, Donald Hall, Emily Dickinson, Adrienne Rich, Marie Ponsot, and others. Too many to name.

Who has helped you to endure? Whose art, whose poetry, whose stories, whose music?

When we reflect on these creations, perhaps we can learn more about ourselves.

Love is all you need?

My daughter made this collage when she was nine years old. This is a poorly PhotoShopped version (the original has faded pretty badly):

~

Love is all you need

I was listening to The Beatles recently, music that takes me pretty far back into my childhood. I’ve been thinking about musical cues to memory for another poetic project on which I am currently working, so the concept of music evoking imagery, subjects, memoir has been uppermost in my mind. More on that project perhaps later, when I have arranged my thoughts more cogently. Meanwhile, some thoughts on “All You Need is Love.” Or more correctly, some musings that begin with “All You Need Is Love.”

When I was an adolescent, that Beatles’ song seemed to signify on several levels. One level was the universal: Love as the root of human sharing, as the means to peace and understanding, as the solution to the Big Problems. Another level was the romantic: Love as the way to solve personal loneliness, finding the partner with whom I could mesh, forge a permanent and personal understanding.

Love as solution. I view that ‘philosophy’ as a non-philosophy now; it is simplistic and impossible. Love is not a solution; it is a verb, active and engaging. Love certainly does not fix things. Its necessity, however, I do not question. Not for those who wish to be fully human.

Wait, you’re going to object–love is a noun, too. In most dictionaries, love as a noun is the entry before love as a verb. Arbitrary on my part to assert precedence for the verb, but I am cautious of abstractions even though I relish philosophy. Love as noun is abstract.

Merriam-Webster: “strong affection for another arising out of kinship or personal ties.” My OED (compact, print edition) contains 9 columns defining Love as a noun and two defining Love in the verb sense.

When I say love is a verb, I mean that in definition 3b in the OED: “to entertain a strong affection; in the reciprocal sense” and 4c: “to take pleasure in the existence of (a virtue, a practice, a state of things) in oneself, in others, or in the world generally.” Love need not be reciprocal, though that feels best to us–hypersocial beings that we are (see my post on Brian Boyd). Love is the greater part of compassion, in which case love is something we do.

I know people who have chosen to take their own lives. A few felt the sense of despair that comes from feeling there is no love (and therefore, no hope). But that is not always the case; some who took their lives did feel love, knew love deeply, knew that others loved them and would miss their physical presence. Love was not all these people needed.

And love was not the solution.

I think we damage ourselves when we believe that love is the solution to our problems. We need other strategies, other fullness in our lives, the tools to overcome or bear with many obstacles; we need perspective and humor and grace. Love alone, in and of itself, doesn’t make peace break out. It does not solve all the issues in a truly profound and sharing relationship–not on its own. Love needs other actions, and other abstractions (trust, communication, compassion, patience, for example) to do its work. It does not solo well–that is not what love needs. Altruism cannot exist in a vacuum, nor can romance, nor compassion.

It takes some effort not to become sentimental here (but Bachelard defends a certain amount of sentiment…)

This is not my definitive post on the subject of love! I need to read more philosophers on love, and to consider love’s evolutionary role, and its spiritual role, in human existence. I’ve done reading on t his in the past, but it was all very long ago. Now might be a good time to begin anew (since “I was so much older then, I’m younger than that now”).

Empty nest

robin nest empty nest Ann E. Michael

“The Atlantic”

 Atlantic by John Sevcik

A few years back, I was privileged to join John Sevcik, his wife Lynne Campbell–who is also a marvelous painter–and a few art students and friends for three lovely days of art talk and plein air painting sessions and terrific food at a beach house in NJ. This painting, by John Sevcik, inspired the following poem, which appears in Water-Rites.

The Atlantic

She and her mother
are knee-deep in water
their backs to the shore

What they discuss
as they look eastward
you cannot hear–

breakers, the wind,
the natter of laughing gulls
cover their conversation

Besides, you are busy
fathoming the sea’s tones
and mixing the sky–

Trying to stake claim
to the reflective shallows
between you and them

At this hour
they are your subjects
as the sea is

and what they say
she will share with you
later. Or she won’t.

It doesn’t matter, you
have set down on canvas
their communion

And your own conversation–
the one between mind’s eye
and artist’s hand.

~~~

Many thanks to John Sevcik for allowing me to post his painting here on my blog. To see John’s other works and find out about gallery showings, visit him at his web page. He is also a teacher, poet, playwright and actor.

Generous community of writers

Lately, my days have been busy with gardening and household chores and efforts to promote my book Water-Rites. I find I can jot ideas into my notebooks but that more sustained creative writing efforts are not possible at this time. That’s okay. Writing, for me, often comes cyclically, with the slow periods acting as collecting points and reflective opportunities that may result in poetry later on. Also, when I am not writing much, I have time to read.

On this blog, I have a page devoted to ART which featured links to work by painters, sculptors, and other artists of my acquaintance. Today, I’m posting links to websites of and books by friends. One thing about the solitary life of writers is that we still require community of some kind: readership, first and foremost; but also reviewers, friendly but useful critique, emotional and career support, and misery-loves-company ranting and hilarity. This community develops many ways–face-to-face, mentorship, virtual collegiality, networking, even postal mail–and sustains the generous community of writers over years and miles.

The event that precipitated my desire to post these links was reconnection with poet Alfred Encarnacion, whose first chapbook, At Winter’s End, David Dunn and I published in the early 1980s when we were running LiMbo bar&grill books. You can find Alfred’s 2012 collection The Outskirts of Karma here.

One poet who has quietly been disseminating poetry for 25 years from his tiny press in Kanona, NY is Michael Czarnecki of FootHills Publishing. From his website, you can order books by many of the people in my writing community: Michael himself, and also Craig Czury, Heather Thomas, Karen Bashkirew, Paul Martin (whose beautiful 2009 full-length collection is available here), Steve Myers, Kelley Jean White, Elizabeth Bodein and many others…including two of my own chapbooks.

Finishing Line Press, which sells through Amazon as well as its own site, has published many of my colleagues in the poetry community and particularly supports female writers; I urge you to purchase books by Celia Lisset Alvarez, Kelley Jean White, Nancy Scott, Elizabeth Bodein. Finishing Line also sells my book The Minor Fauna.

Through Dave Bonta, I met the folks behind Phoenicia Publishing and, through Dave and through the Women’s Poetry Listserv, met Ren Powell. Dave’s book and Ren’s book are available through Phoenicia, and so are print issues of Dave’s online blog literary journal, qarrtsiluni. Also through Dave, my literary community grew through meeting Luisa Igloria, whose books you should definitely check out. Another connection with the inimitable Dave Bonta? That would be Ron Mohring of Seven Kitchens Press, which will be publishing Dave’s next collection and which advocates for the work of Pennsylvania-based poets such as the late Lou McKee and another of my colleagues-in-writing, Harry Humes. August Evening with Trumpet is a particularly lovely book, and Harry is a master. Other Pennsylvania poets to whose tribe I am happy to belong include my much-lauded friend Barbara Crooker, the unpredictable and enthusiastic Barbara DeCesare, Patricia Goodrich (sculptor and poet), and that magnificent woman of letters, Elaine Terranova.

Attending an MFA program at Goddard College granted me an immediate community for which I continue to be grateful many years later. Books by my fellow students and by my mentors include but are not limited to the following (really, there are too many to recall!):

Alan Smerdjian, Jessamyn Johnston-Smyth, Elena Georgiou, Christian Peet, Bea Gates, Ian Haight, Barbara DeCesare, Jan Clausen, Janice Goveas, Bill Moser, Jen McConnell, and forgive me for running short on time or forgetting others…and from my long-ago days at The New School, the amazing Maurice Eidelsberg, whose poems in Shit, Sex, Love, Palsy will have you viewing life from a perspective you may never have imagined.

Through the Women’s Poetry Listserv I mentioned earlier and through conferences and festivals, the generous community of writers has led me to Diane Lockward, Pat Valdata, Elizabeth Raby, Rosemary Starace, Julie Kane, Elaine Heveron, Lori May, Juilene Osborne-McKnight and Steven Allen May of Plan B Press; Ned Balbo, Jane Satterfield, April Lindner among many others. Wendy Ellsworth has written a book on beading and spirituality; my cousin Scott entered the world of book writing with a children’s book you can find here. And my brother, a true Renaissance man, has published a novel and is working away at a non-fiction Rip Van Winkle-type story of archeology, empiricism, Stephen Jay Gould and Samuel Morton.

So  you see, the life of a writer need not be–and seldom is–solitary. Writers love to read, and they therefore support one another inadvertently. My community also includes Shakespeare, Mark Twain, Charles Dickens, Emily Dickinson, Jane Austen, Vladimir Nabokov, Elizabeth Bishop, Robinson Jeffers, Dante, and Dostoevsky. To name a few.

Art and “human intelligence”

I’ve gotten almost to the end of Brian Boyd’s intriguing and well-argued book On the Origin of Stories, which makes fairly large claims about sociality, cognition, theory of mind, art, and storytelling (ie, fiction) given an evolutionary perspective (art as adaptation). The first 200 pages lay the foundation for his claims; he provides evidence from the “hard” sciences, most often biology and neurology, and from archeology, anthropology, and psychology, to back up his theory that art is an evolutionary adaptation humans developed in order to live as social animals. And that art is necessary for human cognition in terms of further developing intelligence and the ability to communicate among our peers: it is cognitive play, practice and skill strengthening for mind and muscle.

Big claims, and occasionally hard to “prove” from the hard sciences. I believe he does a good job with that set of proofs, but I’m not a scientist. His claims based on social sciences—anthropology, sociology, psychology—are very convincing; but many people have arguments with those fields because they are so apparently subjective. Most exciting to me is the way Boyd synthesizes neurological findings with evolutionary developments.

Actually, most exciting to me are his chapters on the Odyssey, but that may be because I am a literature geek. He essentially writes a literary analysis of the Odyssey based upon the inferences and findings in the first half of this book (evolution) rather than the customary literary analysis grounded in, say, context or culture of style or theme, ad infinitum. The resulting analysis is, for me, a truly exciting way to look at Homer’s work and why it matters now, as well as why it mattered then.

Boyd comes close to making the assertion that Homer made Socrates possible, and hence all of Western civilization’s philosophy and social intelligence. Of course, he is careful not to go that far in his argument—he steers as far as he can from logical fallacies— but the thought certainly feels planted in the reader’s mind. His argument does suggest that metacognition in human beings is the definer that makes us human, and art as more-than-play separates human from not-human. He also demonstrates that the Odyssey offers great leaps beyond older epics and posits that the author(s) composed the epic for contemporary audiences that were capable of intelligent, sophisticated, “modern” thought processes; the piece is therefore not primitive literature, as some critics claim.

Boyd’s work has also turned my thoughts to how the attributes of attention, perspective and foreknowledge, overturned expectations, audience-sociality, false belief, cooperation and competition work in the poem as well as in narrative. Granted, many poems have a narrative framework, however thinly sketched, but not all of them do. When there is no narrative frame, these other aspects of storytelling (audience expectations in particular) take precedence and can be employed in almost infinite ways, bounded only by imagination and the willingness of the reader to pay attention as the writer earns that attention through a host of innovative or traditional skills.

A last thought…I spent the long weekend visiting octogenarian friends, both of whom are wonderful tellers of stories. The value of such people to human society is priceless:

“Story by its nature invites us to shift from our own perspective to that of another, and perhaps another and another.”  ~Brian Boyd

Outside the (type) box

Many years ago, back when there was a career called typographer, I was one. I apprenticed to typographers because I had superior proofreading skills, a background in art and design, there was a recession, jobs were few, and I was a quick learner. In an essentially blue-collar job, I was decidedly outside the box: I was a 21-year-old female with a BPhil in philosophy and literature. But I was a terrible waitress. So, in desperation, I essentially talked my way into a job at a typeshop in New York.

A voracious reader all my life, I felt attracted to the potential type offered for expression via the medium of words. I’d studied art since the second grade, so the aesthetic side of typography fascinated me, too. I got into the business just as the field was waning due to the innovations offered by phototype methods, digital typography, and the invention of desktop publishing. Nevertheless, typography kept me fed and housed for a few years while I learned to discern the differences between various counters, serifs, descenders, dashes,  x-heights, weights and the rest. I read books on the history of type design and the history of the alphabet itself. My obsession with words and letters kept me inside the typography box, though I suppose I was often more like a stray Caslon e in the Helvetica drawer.

Wood type was no longer in use, but I used to purchase wooden type fonts–the individual letters–and type cases, because they are so folk-art-appealing and so potentially useful. As collectors began to scour flea markets for wooden type, I bought metal fonts and slugs instead; I’m particularly fond of ampersands and dingbats. (If you’re in Wisconsin and you want to see what the age of wooden type in the USA was like, check out the Hamilton Wood Type and Printing Museum.)

Two of the shops I worked at still used metal type occasionally, though they had mostly switched to digitally-mastered film type; and one shop boasted three Linotype machines. Two of the machines worked. The other was there for parts. The typesetters were all WWII veterans, and the smell of molten lead wafted through the building…it really felt like the end of an era. And it was.

Mergenthaler’s Linotype machine

Working at typeshops engaged my brain in novel kinds of problem-solving and detailed observation, taught me about the lives and careers of men who could have been my great-uncles, satisfied–sometimes–my yearning for aesthetics in the workaday world. An elegant logo or headline still pleases me. I learned about all kinds of odd and wide-ranging things while proofreading, too, while I marked up thousands upon thousands of proof pages; and during my breaks, I read novels. One old-timer at a shop I used to work at told me, “Every proofreader I ever knew read books on his break.” He shook his head as if that were sheer lunacy.

Today, I might note that every computer programmer I know spends his or her break time (and post-work hours) at a computer. It is nice to love something about the work one does for a living.

Typographers today are designers and computer graphics folks who understand how to digitize and digitally set and “cut” fonts for virtual pages. The design tolerances are different, though the challenges of readability and clarity and appropriateness remain. As for proofreaders, there are fewer every year, even though we certainly could use them. AutoCorrect and SpellCheck are woefully inadequate proofreading systems, as I constantly remind my students who don’t know your from you’re or their from there or then from than.

And as for me, I have moved from proofreader and typographer to tutor, instructor, poet…jobs that suit me a bit better, where my quirkiness is more tolerated and thus more conventionally acceptable. I continue to admire thinking and being that is outside of the box, however, and in that spirit I offer you some artwork that moves type outside of its outmoded, old-fashioned box. Click on the cityscapes link to find metal-type cityscapes by Hong Seon Jang. For what artists can do with letters, see also my earlier post on Steve Tobin’s sculpture, “Syntax.”

Fragments…

I just want to re-blog this brief and thought-provoking piece by Michael Klein in Ploughshares:

Notes on Narcissism and the Line

Klein’s musings have inspired me to go back to my drafts of the past year and look more closely at fragments, lines, and the self in the poems.

I’ve also discovered, via Deborah Barlow’s delightful art-centered blog, Slow Muse, the art and prose of Altoon Sultan. Reading and viewing creative pieces and creative critical thinking is a marvelous spur toward one’s own creative endeavors. Although I do risk spending more time online, reading and viewing, than I ought…

Enjoy!