Category Archives: Poetry

Autodidact as adult student: Goddard & me

In a previous post, I mentioned my peculiar undergraduate experiences at alternative institutes of higher education (The New School) and how being a book-loving autodidact influenced, perhaps even configured, my approach to education. My favored learning strategies led me to a non-traditional graduate school program, as well. Reflecting upon my higher education, I realize that every institution I attended chose alternatives to standard pedagogy–and I am grateful that such colleges exist. The world needs outliers.

A kind of heaven.

The New School’s pedagogy for the “Freshman Year Program” was seminar-based. That worked very well for me. Classes were small, discussion-centered, predicated on the reading of significant original texts–no textbooks. The professor was not a lecturer but a participant-coach and mentor.

The program was only a year long, however, so I had to transfer. There were a number of experimental college programs in the 1960s and 1970s; without the miracle of internet searching, however, they were not easy to locate. I did not find out about St. John’s College, Reed, or Evergreen, for example. I stumbled instead upon Thomas Jefferson College (now defunct) in Michigan.

I completed my undergraduate studies without ever seeing a syllabus. Yet I read more books than the majority of my standard-pedagogy-educated peers and discussed classic and contemporary texts, science and history and literature, in depth with my peers and with scholars. I wrote a lot and did hands-on projects, independent studies, experiments and interviews. TJC drew criticism for its ‘flakiness’ and ‘lack of oversight,’ (some of which, I can attest, was deserved); however, the former college president “described TJC as perhaps too far from the mainstream, but attracting excellent students, noting that ‘Thomas Jefferson College…was sending a larger percentage to graduate school than the College of Arts and Sciences.'” Yes, but in my case it took awhile to get there.

Much water under the proverbial bridge: suffice it to say that in 2000, I returned to college to pursue a masters degree…and I wanted to learn in the kind of environment that suited my style. There were other factors then, as well: two children, for example, and responsibilities I had not encountered as an undergrad. On the other hand, by 2000 I was an adult and more motivated and disciplined than I could ever have been at age 19.

I chose Goddard College for a number of reasons, foremost its small seminar-style instruction, its mix of workshops and instruction, its focus on readings, annotations, mentoring, and community-building among students and faculty–reaching outward into the world at large. The low-residency format only works if the student is independent and self-directed, which–as a returning, “adult” student–I certainly was. I appreciated the school’s more interdisciplinary approach to the creative writing program. We didn’t have to face off, pegging ourselves as poets or fiction writers. And creative non-fiction was taken seriously as a genre to develop voice, style, and depth…it could be studied and parsed. That endeavor of interdisciplinary arts education is true of a few institutions now but was rather new among MFA programs in the late 1990s.

Another college without core requirements, without syllabi, without standard formats. But, like New School and TJC, Goddard offers excellent professors dedicated to students’ intellectual enrichment and personal transformation, small-group discussions, and narrative evaluations. I knew how to balance life’s responsibilities when I enrolled, and I knew what kind of teaching I’d respond best to. How did I learn that? See above. Suits my philosophical, bookwormish, autodidactic approach to–well, practically everything!

Irritation, explanation, interpretation

I had another testy conversation about poetry analysis recently. Hence, this brief explanation, rationale, and license to interpret.

Feeling a mild irritation...

Feeling a mild irritation…

I truly sympathize with people who prefer to avoid any sort of literary analysis; so many times, it is such a badly-taught subject. Nevertheless, it is never a good idea to refuse to learn about something thanks to one or two negative experiences. If that were the case, no one would ever learn to walk (we fell down, we cried, we refused ever to rise up and take another step).

First, let go of the idea that the purpose of literary analysis is to understand exactly what the writer meant. Second, let go of the idea that poetry contains a symbolic hidden meaning.

Instead, recognize the following fairly obvious observations:

1] the poet wrote what he or she meant; the reader can interpret on the reader’s terms.

2] the meaning is in the poem itself.

Poetry is a form of communication, and it is not a detective story. The poet said what he or she said because the poet determined that was the best way to communicate the experience.

Problem: You, the reader, fail to understand the poem. All that means is that you and the poet may be speaking in different terms and that, to you, the poet’s determination of the best way to say what he or she meant does not convey much. Welcome to the world of human interactions.

The reader has choices: turn the page, for example, and ignore the poem. Or read the poem and find its sound or rhythm entertaining. Or read the poem for its summary–the top-line story, if there is one. Or relish the poem’s mood or use of language. Or its images.

Or throw the poem across the room in frustration or anger. Poetry is powerful enough to evoke such responses.

You could also try to examine the poem, look at how the poet uses rhythm or sound or language or image or metaphor or rhyme…you might learn something about how a writer puts a poem together; and even if you do not manage to shoo the “real meaning” out from under a chair, you may be able to come to terms with the poem in your own way.

You are permitted to interpret what the poem means for you.*

~

*CAVEAT: This approach may not get you an A on your analysis paper (though it might), but it will serve to enhance your lifelong appreciation of the poetic art.

Art, story, story, art

Yesterday, I attended a reading by former US Poet Laureate Kay Ryan in a more intimate setting (a luncheon) than I’ve ever been privileged to hear her at in the past. An audience member asked her how she would define art. Alas that I don’t write quickly enough to have taken her words down verbatim, but she offered a lovely answer.

She said that if a person cannot really be happy without doing it, and cannot keep from needing to do it, and if it nourishes or gives back to that person in ways nothing else can–then that “it” is art, in her opinion.

~

I suppose art also ought to speak to others, but I am not sure that is as necessary as art critics think it is.

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Speaking of critics, and of art, I was impressed with Hilary Mantel’s 1998 novel The Giant, O’Brien for reasons that made a few critics rather lukewarm about it. The author is best known for her amazing historical works, well-researched and full of believably human perspective. O’Brien is a departure in several respects although still historical fiction. I read this book as an ambiguous moral tale, a myth, a story about stories (and art) and a depiction of ways the Enlightenment created significant losses in the midst of its gains. So I was less bothered by the exaggeration of certain personalities or minor plot gaps. O’Brien, a storyteller of the most shamanistic/primitive sort, also possesses a modern (Enlightenment) intellect and an artist’s “intuition.” But he never achieves fame, or the goal of restoring a beloved pub–the place he learned his craft–and dies painfully and slowly, impoverished and nearly abandoned.

As O’Brien nears death, Mantel writes that there comes “a point in fatigue or pain when logic slowly crumbles from the world, where reason’s bricks sieve to crumb. Where content flits from language…and departs.” And her character, the giant–who embodies in his hugeness the epitome of mythical narrative, the kind that sustains us even in dire poverty–eventually comes to the conclusion that the poor among us lose all. Of the poor man, he muses:

Stories cannot save him. When human memory runs out, there is the memory of animals; behind that, the memory of the plants, and behind that the memory of rocks. But the wind and the sea wear the rocks away; and the cell-line runs to its limit, where meaning falls away from it, and it loses knowledge of its own nature. Unless we plead on our knees with history, we are done for, we are lost. We must step sideways, into that country where space plaits and knots, where time folds and twists: where the years pass in a day.

What within us plaits and knots and folds and twists but the brain itself? We pass along our knowledge and, more importantly, our stories. That is done from brain to brain through language and music and art, even as the individual brain comes to the end of its viability and vitality. We step sideways into another person’s brain, just as O’Brien’s listeners memorize his tales, his cadence, his figurative speech. So, in the end, O’Brien is wrong.

~

I attended a funeral today at which the officiant encouraged us to keep the departed alive in our hearts and for the future by telling stories he had told or by relating stories about him to anyone who might listen. I know I have previously written about this idea in conjunction with readings and philosophers and art and literature. The more I encounter it, the truer it seems to me.

The bereaved spouse at this funeral is a person who is losing her own story through senile dementia, though she has some occasional awareness of her memory loss. Her ability to carry on her husband’s narrative is already deeply diminished or perhaps completely gone.

These are among our risks.

~

These words brought to mind my long-time friends, the craft-artists David Ellsworth (turned and other wooden forms) and Wendy Ellsworth (beaded forms). This month, for the first time in their many years together, they have a joint exhibit in the gallery space at Jenkins Arboretum (Devon, PA). The photos below are snapshots Wendy took, and their individual work is best viewed in person or on their studio website. [Contact the artists for permissions, photos, information about workshops and talks.]

Wendy Ellsworth's seaforms, and a necklace

Wendy Ellsworth’s seaforms, and a necklace

Wendy's "Sunset" (with David's turned-wood frame/container)

Wendy’s “Sunset” (with David’s turned-wood frame/container)

David Ellsworth's "Emergence" series

David Ellsworth’s “Emergence” series

I have known Wendy and David for over 25 years, and I can testify that the work each of them does fits Kay Ryan’s description of art. They are artists, and their work nourishes both of them–and nourishes us, the beneficiaries, as well.

~

For today, these are my stories.

www.ellworthstudios.com

Er – sur –

Mary Ruefle writes, in her book of “lectures,” Madness, Rack, & Honey: “I remember being so young I thought all artists were good, kind, loving, exceptionally interesting, and exemplary human beings.”

I was a child like that. It’s good to know there was at least one other. We grow up to know that such artists are far from common. But they do exist.

Each time I learned a “bad” thing about an artist, poet, or writer I loved, I felt a little deflated. Something was being taken away from my idea of the person who made such wonderful work.

Later, I rather empathized with Roland Barthes’ theorizing about the death of the author. Not because I was necessarily post-modern but because sometimes, I wanted the artist-as-person to be erased so that I could go back to loving the art-as-art. This was a juvenile way of thinking about both human beings and about art.

But: the lure of erasure…

~

Ruefle muses about time, about art, literature, and the human being. Her assays to determine what endures among us often feel a bit cryptic or aphoristic at the first encounter. The wisdom in them, and the layeredness–and the awareness of what is “missing” in her texts–evolved in my own mind as I read her book, slowly.

She has used erasure as a means to expression and to beauty, as it happens. Examples of her erasure poems appear on The Poetry Foundation’s website here.

~

The closing epigraph of Madness, Rack, & Honey (is it an epigraph if it falls at the end of the book?) is from Samuel Pepys’ Diary following the Great Fire “…an abundance of pieces of burnt papers were cast by the wind as far as Cranborne; and among others she took up one…which was a little bit of paper that had been printed, whereon there remained no more nor less than these words: “Time, it is done.”

Time.clock

~

For Dave Bonta’s interpretation of erasure poems–based upon Pepys’ diary–see via negativa here.

~

“Exhibit 13,” by Blue Man Group, follows an abundance of pieces of burnt papers cast by the wind, as well.

Autumn, time transfixed

IMG_0127

When we were initially landscaping our property, I chose to plant a particular species of zelkova known for its lovely fall foliage color. I cannot recall the variety now, although I am sure I recorded it in my garden journal 16 years ago. The leaf color is challenging to capture in a photograph. If only I were a painter, then I might manage. Of course, the color varies depending upon time of day, cloudiness, and atmospheric changes.

It is a lovely tree that announces the equinox quite articulately.

~

Equinox, autumnal: a slowing of crickets, the brief visits of migratory birds, quieter dawns, fewer bats at dusk, longer shadows. Time is far from transfixed.

~

I visited the Museum of Modern Art, New York City, on a warm October day to see the René Magritte exhibit. Magritte’s work is so easy to parody, so graphically amusing, that my brother–who was not all that familiar with the artist–at first said, “This reminds me of mediocre high school art.” After viewing the entire gallery, however, he had changed his mind about Magritte.

Magritte did a great deal of commercial art and, like Warhol years later, felt comfortable with the kind of graphic representation to which wide audiences respond. And then he played with that audience’s expectations, sometimes more effectively than others. One painting which certainly upends expectations and which I was glad to see again is La Durée poignardée, on loan from the Art Institute of Chicago; it was a favorite of my late friend David Dunn.

La Durée poignardée (1938)

time-transfixed-1938(1).jpg!BlogThis image of the painting appears at http://www.wikipaintings.org/en/rene-magritte#supersized-featured-211652

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Here’s some playfulness concerning the title. The French word poignarder means to stab, and the implication is to stab with something pointed, ie, a dagger, since the verb is transitive. It interests me that the accepted English translation for this painting is “Time Transfixed.” The meaning I associate with transfixed in terms of, say, holding in one place (pointedly?) is that of pinning insects to a board as in lepidoptery displays. In this painting, the “stabbing” seems to be reversed: the pointy end emerges rather menacingly from the static, domesticated mantelpiece. If this image depicts the verso side of the display, it could be time itself that has been killed, spread open, and pinned, invisible from this aspect. Or perhaps the translation should be “Time Stabbed through Its Continual Duration,” stabbed with a poniard in the shape of something almost as ongoing, the contemporary barreling locomotive engine.

As it is a genuine surrealist painting, no particular meaning can be assumed. The images are random; make of them what you will. Magritte came up with wonderful, mysterious titles for his work–his paintings and their titles have inspired quite a few poets over the years. David Dunn was among them.

No wonder, really; this artist was quoted as saying, “The function of painting is to make poetry visible.”

~

Meanwhile, since I am not a painter, I will let the zelkova tree make poetry visible to me for a few days…and then get back to writing some myself.

In which I discuss the theme of death in literature

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Victor Brombert offers an octogenarian’s reflections on death, literature, and the creative process (storytelling, history-creating, poetry-inspiring) in a recent Chronicle of Higher Education. I found his musings of interest partly because I have best beloveds who are octogenarians and partly because Brombert is a dyed-in-the-wool humanities professor (professor emeritus of Romance and comparative literatures at Princeton) whose thoughts on mortality cannot help but have been shaped by his long associations with such texts, as well as by his long life and his experiences. “After Omaha Beach, where I discovered that I decidedly did not have a heroic vocation, I also discovered between the hedgerows of Normandy how repellent the smell of dead cows and dead men can be, how repulsive the sight of half-burned tank drivers finished off by machine-gun bullets, their bodies folded over the turrets, or of gunmen and mechanics who had tried in vain to crawl out of escape hatches,” Brombert recalls; then, he reminds himself that he had considerable warnings about war’s savagery–through literature–citing Montaigne and The Iliad. In fact, he says that “the theme of death stood for me in a special relation to literature.”

About death’s “special relationship with literature,” my education agrees with his. Before I ever had much experience with death in the immediate small circle of my own life, I had encountered it in the books I read voraciously. I knew death could be gruesome, sentimental, slow, quick, painful, transformative, pointless. But I was very young, and I did not, could not, fully understand with what I was engaging: the very question of being and non-being, of what comes “after” and if there is an “after,” and if those words as we know them (temporally) mean anything at all.

Brombert says: “I began to understand that all art and the love of art allow us, according to André Malraux’s famous pronouncement, ‘to negate our nothingness.'” His reading, his studies of art and humanist thinking, “elated” him. He felt drawn to Montaigne, whose essays he calls “flexible and meandering” and whose reflections on mortality seemed affirming in that death itself was “subject to laws of transition, passage, natural progression, or process.”

~

Brombert recognized his job as a teacher of literature was a kind of giving voice to the dead. Here, I think of Hofstadter’s conclusion about human consciousness: that it is shared, carried on–in part–by living human beings after the bodily death. Is that troubling, or comforting? Some excerpts:

[W]riting itself was implicitly suffused with the theme of mortality, especially narratives and storytelling in general (the example of Scheherazade of One Thousand and One Nights came to mind) as ways of eluding or delaying the inevitable.

…

Plato set the tone in the Phaedo when he had Socrates tell his disciples, before drinking the poison hemlock, that true philosophers concern themselves with nothing but dying and death, that philosophy is in fact the study of death. This seemed to me rather excessive.

…

Though never losing sight of his mortal condition, Montaigne is primarily intrigued by the processes of life, the mutations from day to day, as he watches his own decline and feels, as he puts it, that he is dissolving and slipping away from himself (“Je fons et eschape a moy“). His concern is not with essence or being but rather with transition: “I do not portray being, I portray passing” (“Je peints le passage“). Throughout, his Essays affirm the need to live to the fullest. Yet, in a deep sense, his thought seems prompted by the recurrent sense of the transitory and the perishable.

Kind of dovetails with the concept of impermanence, no?

~

On a closing note, and back to my favorite topic of poetry….Billy Collins has claimed that “the theme of poetry is death.” Like Brombert’s assessment of Socrates’ claim, I’m inclined to think this statement is a bit exaggerated. There’s merit to it, however. Worth thinking about.

Collins’ poem “The Dead” offers one way of thinking about death in a poem; this link will take you to a clever animated version of this poem.

And there’s a nice example of paronomasia: animating the dead!

Wisdom of insecurity

My mother pointed me to a short piece on mindfulness meditation excerpted from Jack Kornfield‘s work (it probably came from one of his books, such as The Path of Insight Meditation).

He spends several paragraphs writing about the dharma of wisdom and about impermanence, quoting a Buddhist sutra “Thus shall you think of this fleeting world.” He notes that when meditating, one is more likely to realize that everything around us is in a state of change. It’s more noticeable, this changing, because the person meditating has become still and is observing closely.

Change is dharma’s first law: uncertainty and impermanence. The laws of science bear this out; entropy, evolution, constant change and motion everywhere.

Kornfield then does a good job of explaining to Westerners what Buddhists mean when they say “all life is suffering.”

“This brings us to dharma’s second law. If we want things that are always changing to stay the same and to get attached to them, we get disappointed, we suffer. Not because we should suffer–this is not something created to punish us. It is the very way things are, as basic as gravity. If we get attached to something the way it is, it does not stop changing, Trying to hold onto ‘how it was’ will only create suffering and disappointment.”

What could be clearer? We know we cannot wrestle a person or a place to the ground and pin it in place and have it remain unchanging for us. Without change, nothing can live.

What upsets people is that they are uncomfortable with the insecure feelings change tends to bring. Also, there’s that tendency to look for cause and effect, for blame, for control and certainty.

Thinking about thinking–as I have been lately–and consciousness and, to some extent, fear, I recognize I need to “relax with uncertainty.” That’s how Kornfield puts it. he says there is wisdom in insecurity because it is natural.

“Letting go does not mean not caring about things. It means caring for them in a flexible and wise way,” Kornfield writes. Sometimes, when I feel content and relaxed and able to “let go” of nagging and difficult and scary and challenging things, loved ones ask me whether I care or not. I do care. I recognize, though, that there are times no amount of caring can “fix” a problem. Sometimes, acceptance and encouragement and letting go work much better than controlling intervention.

A great deal of my poetry begins in a flexible, accepting “space” that recognizes, and embraces, uncertainty. I wish I could find myself in this Way more often.

Impermanence (thanks to David Sloan)

Impermanence (thanks to David Sloan)

Science is poetic? A debate

Here’s a video I found entertaining and thought provoking–a scientist, a poet, and a philosopher discuss the intersection (or if there is an intersection) between poetics and science.

This debate hinges on a Richard Dawkins statement: “Science is poetic, ought to be poetic and has much to learn from poets.”

The home site is the Institute of Art and Ideas, which is also worth exploring a bit.

Poetic Theories: Can scientists learn from poets?

Ken Binmore, Mary Midgley, Ruth Padel.

What is your take-away from the discussion? I’m curious about which stance seems most convincing, though I suspect one’s fundamental opinion on such topics isn’t easy to change.

Virtual, physical, personal

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Redbud leaf in fall

Through the blogosphere, I’ve met some fascinating and talented people. The virtual connection, although I have learned to value its scope and immediacy, generally seems a bit wanting in connection for me. Even though I tend toward introversion, my favorite way to connect with people remains face-to-face. [Go ahead, call me old-fashioned.]

In the days of listservs and message boards, I first began “meeting” colleagues online. I signed up for the Women’s Poetry listserv (Wom-Po), which is still active today. One of the best things about that list, besides the fact that I learned a great deal about poetry/women’s poetry/teaching poetry/contemporary and historical female poets, is that I met many of my colleagues in person while attending writer’s conferences, readings, and similar events.

What joy for a person like me, who tends to be a bit reserved about meeting new people. For introverts, a virtual introduction and conversational exchange online–even just recognizing a name on the listserv–has made possible a route to social icebreaking at conferences like AWP.

This past Saturday, another virtual connection joined the realm of the physical when I got the chance to meet–in person–artist Deborah Barlow at the opening of her show at Morpeth Contemporary gallery. I’ve seen her artwork on her homepage; but as is often the case, viewing the work in person was revelatory and beautiful. And meeting the artist herself–also revelatory and beautiful!

I recommend her blog, Slow Muse, which has alerted me to many a terrific book on creative thinking, the creative process, and poetry as well as introduced me to several wonderful contemporary artists’ work.

As the seasons undertake the dying-toward-renewal process, I welcome musings and inspirations. The shining, textural depths of Barlow’s paintings offer another way of looking. As do good books and sunny mornings on the back porch.

Equinox: autumnal

ann e. michael poet

I do like early autumn. The bright flowers of late summer possess almost tropical coloration: tithonia, goldenrod, zinnias, dahlias, canna lilies, cosmos, salvia, marigolds…meanwhile, the leaves begin to turn. Where I live, the euonymus alatus (spindle-tree/burning bush), sassafras, and sumac are the first leaves to redden, along with the five-leaved Virginia creeper vines.

My reading in Bloomsburg was a great experience. There was a full house, the sound and lighting systems worked, and the Moose Exchange is a delightful building, similar in purpose to many arts-venue collectives in other small US cities as they attempt to revitalize their downtown regions. The building was once the home of the Moose Lodge, one of many community associations that once worked to keep small cities and neighborhoods vibrant in the days before flight to the suburbs. My reading, part of the Big Dog reading series, took place in the third-floor ballroom! Afterwards, we had dinner in a terrific little Italian restaurant just off Main Street. Portobello mushroom ravioli in sage-butter, delicious.

The drive home was quiet–mostly highway, late crickets still making noise along the road, full moon in a perfectly cloudless sky.

I recognized that I can work on my writing practice more diligently and less anxiously than I have been. There are ways to make space in my life for creativity again. My recent readings on consciousness and the nature of being lead back to the poetics of space somehow.

first day of Autumn
my heart is pounding wild
Ah! The full moon

     ~Basho