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Monday, October 29, 2012

Wrestling with Angels


Sometimes, I struggle with my decision to live in a small town surrounded by wilderness. When that happens, the mountain landscape flatlines; I yearn for crowds, performances, provocative lectures that yield to conversation, jazz bands at 3 am.
For that reason, I’m grateful to have the Ashland Chatauqua Poets and Writers Series within an hour’s drive (if the mountain pass is open). While only a couple of writers are presented annually, over the last years, Chautauqua has hosted writers as various as Li Young Lee, Barry Lopez, Eavan Boland, and Mark Doty, among others. Along with reading, each writer gives a master class for teachers.
I want to thank my friends Vince and Patty Wixon for insisting I attend the October event with poet and essayist Tony Hoagland.
In his extended workshops “Five Powers of Poetry,” Hoagland teaches the foundations for writing poetry as a distinct neuroskill set with muscles that can be built through regular practice We explored the first power: the immediacy, persuasive powers, and pleasures of making images. Because images carry complex messages with both intellectual and emotional content, Hoagland says, they are the source of much of the pleasure of poetry.
 “Get students to write one line that gives them pleasure,” Hoagland advised as he launched us in a series of exercises imitating other poets and invoking imagery. Because so many of my recent writing attempts had fallen flat, I felt a little intimidated, but Hoagland’s exercises were so simple, I quickly fell into improvisatory mode, imitating snippets of poetry and rhetorical phrases borrowed from other poets.
Before long, I’d written one of those lines that gave me pleasure:
What matters is
a bag of groceries left
at the bottom of the stairs--
the hallway dark
no one watching. 

In an instant, language and imagination had connected. The phrase contained an entire narrative because the image was as undeniable as the values in a black and white photograph.
I was writing, and nothing matches that pleasure.  

“Not to be able to express yourself is a penitentiary,” Hoagland said, and I had felt it over the last weeks. If wrestling with one small phrase was enough to set me free, then I had books and books filled with phrases to play with when I got home—plenty of angels I can wrestle with over the long and isolated months of winter.  

For more information about the Ashland Chautauqua Poets and Writers Series, visit: http://www.chautauquawriters.org/ 

To learn more about the “Five Powers of Poetry, visit:

 

 

 

Monday, October 15, 2012

100,000 Poets for Change in Yreka, CA

On Saturday, September 29, 2012, four women poets--Dori Appel of Ashland, Oregon, Maria Elena Fernandez of Mt Shasta, California, Flannery Clouse of Yreka, California and I--met to read in a coffeehouse, Nature's Kitchen, in Yreka.

This was part of the international movement, 100,000 Poets for Change--an event that fostered 800 events in 115 countries.  Organized online and largely through FaceBook, poets and musicians gathered in Madagascar, Mali, and Mauritania to build global social and cultural awareness and to encourage solidarity among artists and musicians.

Yreka is a small mountain town surrounded by ranches and wilderness. I was curious to see what issues would emerge and how we might fit into this global community.

At first, when asked to read, poet and owner of Nature's Kitchen, Flannery Clouse said, "Since change is inevitable, I'm for it."  We laughed at our dilemma. As a writer, I don't see myself as attempting to change cultures and societies when I write--my only focus is to shape images, ideas, impressions into language and to shape that language into a satisfying whole.

In preparation for the reading, we all had to think about what change we wanted to see and to look at our writings to discover what social and cultural issues were already there in the work.

In the course of the reading, a theme emerged from our personal writings that had political heft. In one poem, Fernandez exposed the depth of Demeter's pain at her daughter's kidnap and rape. I read "Leda Talks Back," a poem that pulls back the curtain of Romanticism reveals the ugly truth of that rape.  These poems stand as voices against the recent political "War on Women."


Clouse (above) even surprised herself by writing a long and blatantly political ditty for the occasion. In one verse, she dealt with the current view expressed by one conservative who is still being supported by many of the Republican mainstream:

     Akin has said
     If a woman's raped right
     She can't have a baby
     Because she's too tight.
     Roe vs. Wade
     Must be unmade
     Because we all know that
     All of this rot
     About a woman's say
     In her body's parley
     Is a freakin' feminist plot.

For more information about the global event, visit: http://www.bigbridge.org/100thousandpoetsforchange/