Tag: poetry

507: What Happens In a Ross Gay Reading?

                “We all know nothing happens only when it happens” -Ross Gay, Be Holding: A Poem, and read tonight on April 16 in Champaign Urbana, Illinois

                Tonight I got to meet Ross Gay, author of catalog of unabashed gratitude (which my mom gave me in 2012, maybe, or 2014), author of The Book of Delights (which lived for a long time on my bedside table, and on my desk, and for a little bit in my garden), author of inciting joy (which I just got tonight), author of a lovely evening reading, as he’s a delightful and delighted person who paused several times tonight to laugh with us or laugh about what we laughed at. And in so many ways in his poems and beyond his poems Ross Gay brings my communities together.
                By which I mean that so many of the local people I’m close to were there for the reading. Old teachers of mine, and fellow students, and older students who told me “this might help you grad school” when I was starting out, and newer students to whom I’ve tried to mumble useful things, and people I work with, like Carmen who was at my house yesterday, identifying all the different plants dancing up now that it’s spring, like Nathalie who I cowrote with all last fall, like another friend, who’s made for herself the kind of work where lots of what she does is introduce people to other people they might like. A kind of work that Ross Gay’s writing does, and is, as we all got together to be part of singing it while saying and listening and laughing.
                By which I mean that these communities are not restricted to local folks here, but brings me to my mother, who gave me the book that I set aside for a while and then drank down, delighted. To my siblings (both far away) who would love parts of what Ross Gay read tonight. To my friend Dani’s mom, Lesle, who learned about (and started to love) Ross Gay after I shared a poem with Dani and Dani shared that poem with her mom. And now I’ve met Lesle and that poem is something we all share together. In this happening that is not locked to tonight’s reading, I’m also sitting with students in Oklahoma circa 2016 when I taught these poems, us all walking along to each other in Ross Gay’s words. I’m going back to old friends who’ve moved away but who walk these paths and so who I might come back to in these poems.
                By which I mean that Ross Gay, asked tonight about the acknowledgements section in his books, and about who he was feeling indebted to, talked about so many different neighbors. The ones who call over because they’re cooking something, and wonder if he wants some. The one who sent that video of a dog and a person playing Jenga because Ross Gay has a dog in the house since December. The ones who all get together to garden. And in this happening that is not just the now of one moment where one thing is happening, we bump together for a moment, but gently. Or tend the arugula that is yes now tall enough to dance when the wind tickles.

by Azlan

491: “At night I would lie in bed” (Sue Monk Kidd)

                “At night I would lie in bed and watch the show, how bees squeezed through the cracks of my bedroom wall and flew circles around the room…”
-Sue Monk Kidd, The Secret Life of Bees

                                One way to start this post is by trying to remember how long ago I first read these words. It was more than half my life ago, I’m pretty sure, which isn’t long if you measure it by many things—my grandma’s lifetime, or the forests I went walking through today—but it can seem pretty long to me. 
                Another way to start is to say I love that moment between (and beyond?) waking and sleeping. The one where Lily (in the book) watches bees. The one where I, at nine or ten, laid awake in the mountain cabin my grandpa built, watching the fox in the woodgrain. I still look at that face sometimes. And the place where I, last night, lay awake with my partner listening to the rain and hearing one of her siblings moving away down inside the house as we all visit for the holidays. And the place where, at seven or eight, the night would open into flowers and talking animals and other figures from the stories my parents had been reading me. (And nightmares and teeth, sometimes). And the place where, at nineteen or twenty, I thought about all the new people I’d met,  all the different ways they walked through the world. 
                I think I’m saying there’s an openness in that lying awake in bed that lets things come together. The buzzing bees. A sibling’s footsteps. A lifetime’s memories. My partner and I are out in Washington State, visiting family. Yesterday we were with her parents and siblings. Today we were with my mom and siblings. The scheduling can feel like a lot, a kind of family crossword. It can also feel easy, sweet, open, full. I pulled The Secret Life of Bees off my sister-in-law’s childhood bookshelf. In waking and falling toward sleep I wonder if we feel some of the ways lives swirl and weave.

by Azlan

490: “Imperfections and Incompleteness” (Sarah Travis)

                “I sometimes worry about the imperfections and incompleteness of it all. […] But maybe it’s supposed to feel unfinished […] In that spirit, I am resisting my urge to polish up this letter too much…”
                -Sarah Travis, “Friendship as Scholarship: a Path for Living Inquiry Together,” Experiments in Art Education, p. 178

                Someone told me once that reading the beginning of a novel is like walking into a room and meeting an author who hands you things: here, a description of a fallen tree. Hold this. Here, a child climbing the fallen branches. Here, a quick pair of fluttering wings. The author’s trick (this someone said) is to have the pieces pull together into a story the reader wants to keep reading before the reader gets overwhelmed or bored by what they’re being asked to hold.
                I see what they’re saying, this someone. They’re right sometimes. And sometimes…

                In my teens I started lying awake at night, thinking back over the day to trace out what I had accomplished. What made this day worthwhile. I started doing that for reasons that made good sense at the time, and it might be an interesting practice, sometimes. And sometimes…

                If you were to give me today, if you were to hand over the trees and the fluttering wings and the thoughts that child-me and older-me and our friends are having, apart and together, it wouldn’t make a very clear story. As a reader I might say why are you giving me that. That’s what I mean, sometimes, when I tell my partner at the end of the day wow today feels so long. Going over to feed Jackie’s cats? That was just this morning. There isn’t a nice finished arc to this today-ness. There’s a warm crackling fire. Ash on my hands. A cold, cold wind. Voices. A delicious mouthful of fish. Clothes scattered on the floor. Imperfect and incomplete. Sometimes like my friend Sarah Travis I worry about that, and sometimes like my friend Sarah I celebrate that, because it—whatever it is—is not ending right now. Oh no. It’s snuggling up with blankets. Then it’s dreaming. Who knows after that.

by Azlan

481: Writing Webs (Ishita Dharap)

a word web by Ishita Dharap, inspired by her 2023 artwork “grief maps”
a web by Azlan Smith, inspired by Ishita’s 2023 “grief maps.” We made these together, tonight, for this post.

                One of the (many) wonderful things about my friend Ishita Dharap is that I’m not sure how to describe our friendship.
                We’re art friends. That can be drawing or crafting or eye makeup, familiar mediums, but it also means painting words into classes, balancing relationships into museum art exhibits, playing sunlight like you’d play a piano until it sounds sweet. Or maybe being a piano for some sunlight’s silly hands.
                We’re cooking friends. That means we like sharing meals, love standing over the stove and stirring things, love the blur of heat and flavor into time and texture. I think it also means that we’re mischievously aware of ourselves as cooking, too. The idea for this post has been bubbling away on low for years. We make space for one another’s boiling and slow-bubbling.
                We’re quick friends, ever since our first conversation while trees danced outside. Vibes, Ishita says.
                We’re slow friends. Sometimes we don’t talk for a long time. That’s not a turning away or forgetting. It’s a growing— leaves that flicker in their curiosities, and roots that steady in their quiet, hidden curiosities.
                Did any of that make sense? Do you have friendships like that? Or maybe I should say like all these. I’m thinking about manyness. About how in my experience a friendship that is is many things. Ishita’s approach for mapping words into webs is one of my favorite ways to try and write that manyness. You can read in branching threads, following the different connections. People sometimes comment a lot about the linear structure of an English sentence, the sequence of a word then a word, but when I think about anything I’ve read the words are more a web than a line. Are they that for you? A knotted association of the threads above and this thread here and the next threads, and other memories or thoughts that all these threads tie to? They are for me, and Ishita’s word maps are a way of writing toward that web.

by Azlan

478: Drawing “What We Cannot Yet See”

                “How do we draw—or write—the emotions and parts of ourselves that we cannot yet see?”
                -Rachel Gu  my friend!) and Azlan Guttenberg Smith (that’s me!), “Our Monsters, Our Breath,” Experiments in Art Research

                Rachel and I sat next to each other in a grad seminar. Hour by hour, I watched shapes and shades wash out from the colored pens she brought with her. The pattern from a classmate’s shirt. The arrangement of our tables. A few branches, framed by our classroom window, and an abstract shape that was Rachel’s response to a piece of today’s reading.
                I’ve been scared of drawing for a long time. A mark on a page can feel so final, so I tried to put down perfect marks, clear edges, and everything I drew felt stiff, self-conscious, incomplete. And I’m also entranced when I watch people drawing. Smudging. Erasing. Playing out ratios and relationships.
                I started drawing along with Rachel. Class by class period, first with the pens she shared with me, then with colored pencils I brought to share with her. I picked up specific techniques, of course. (She dripped water from her bottle onto the table, and used it to smear her pen’s ink, and I loved it). But more than the specific techniques, I felt the space of drawing opening, the fear I’d felt settling into one tree in this rustling forest of shapes and shades as Rachel ran ahead and I followed—or turned off to wander a different way. Months after Rachel helped me start drawing again, I helped her start writing some poetry. These practices together led to the chapter we wrote for Experiments in Art Research, where you can read some of her poems and our translations. And these practices helped me—I hope us—sketch our way into a version of studying that is a kind of making space to share ourselves and share what we cannot yet see.

by Azlan

477: “It Helps Us Hope” (Ai Weiwei)

                “I think that it doesn’t matter whether poetry is good or bad… / …as long as it helps us hope.” -Ai Weiwei, Elettra Stamboulis, and Gianluca Costantini, Zodiac: A Graphic Memoir

                I want to write poetry the same way I step into the rain. Feeling raindrops scattering. Touched by a sky that whirls and swirls, vast and near, and chuckling along with the wind and the trees and neighbors who are chuckling, too. Which is to say: I want to write poetry the same way I garden, watering seeds, watching shoots grow, noticing shadows and sunlight and moisture. I want to write poetry the same way I cook for you: here, I made this, for us, a little snack. Which is to say: I want to step out into the rain and garden and cook like writing poetry, these little practices of hope.
                I’m less and less interested in good art. In evaluating. (I’m less and less clear about what “good art” means, too, but the question doesn’t draw me). Ai Weiwei and his co-authors put words to this delight of recognizing instead what art can do. My professor played our class a song that one of her colleagues wrote in response to my professor’s poem, posted on facebook. That’s how they became friends, this colleague and my professor. Another time I helped a friend make signs for a community garden: tomatoes, garlic, so volunteers who were planting and visitors who were harvesting could navigate the bursting leaves. Last weekend my partner and I went to the library and drew pieces for a community art project: on one wooden puzzle piece she drew an open door. On another I drew friends beneath a tree. These pieces sit next to kindergarteners’ pieces and neighbors’ pieces and elders’ pieces and strangers’ pieces and librarians’, and the library grows a little more into a place where maybe we meet.

by Azlan

471: “No One Knows It All” (Paulo Freire)

                “Humility helps us to understand this obvious truth: No one knows it all; no one is ignorant of everything.” -Paulo Freire, “On the Indispensable Qualities of Progressive Teachers for Their Better Performance”

                Twelve days ago, when my love and I got married, we didn’t have an officiant. We welcomed people and exchanged vows ourselves. Most of the ceremony itself (before the tamales!) was our family group of 22 sitting in a circle beneath the redwoods. Each person shared a thought or a celebration or a wish, or something else they wanted to say. I loved listening. I loved the branching, rooting, connecting of our voices.
                I love living Freire’s humility and obvious truth, too. It feels so right. At the same time, when I hear someone say “no one knows everything,” there’s usually a kind of sting to the thought. Like it’s embarrassing, or like the statement itself is barbed. I get why. So many of the cultures I live in value a kind of performative knowing and devalue uncertainty, confusion, complexity. I spend a lot of time at a university, and it’s amazing how many professors won’t admit what they don’t know. When I talk to my friends in tech or finance or law or medicine or…well, you get it, and my friends in those spaces say something similar. The not-knowing can be portrayed as a threat. A failure. A weakness.
                I loved that, with our joined families at our wedding, not knowing anywhere close to everything just felt like a celebration. Of course these wonderful people had insights to share that were different from others’ insights. Of course some of them saw things I didn’t see. Sometimes their voices brushed past my thoughts, our worldviews interweaving like roots below the ground, and sometimes our branches reached off in different directions, and all of it was wonderful to share.

by Azlan

470: Receptive Language, & Listening (Alexis Pauline Gumbs)

                “What I want to say to you requires a more nuanced field of receptive language than I have ever spoken. It requires me to reshape my forehead, my lungs. It requires me to redistribute my dependence on visual information. So I will close my eyes and say it: Here. Here I am. Here I am with you. Here is all of me. And here we are.” -Alexis Pauline Gumbs, Undrowned: Black Feminist Lessons from Marine Mammals

                I’m writing this from an airplane. Billowing white clouds outside. The jets thrumming through the wall where I rest my head.
                Last week my beloved and I got married. As part of the ceremony we read Alexis Pauline Gumbs out loud, including the lines above. Gumbs is thinking about the way marine mammals speak and listen across oceans. How the shape of their bodies collects sound, connects songs. Resonates. Now, as we travel back home, I’m practicing listening. A long, slow, lovely practice. I hear my partner chatting with our sweet seat mate. I hear our seat mate’s baby, discovering fingers and red grapes. I hear all the little sounds of people shifting and talking. I hear breathing. I hear keystrokes. All around I hear the wind, threaded through with the jet’s thrum, and I think about the sky as an ocean of air that we all swim through. How precious every breath. How precious the chance to share them. How delightful, my love, to listen, to practice that close-eyed receptive language that sings through oceans. That sings here we are.

by Azlan

467: “The Scale of Breathing” (Alexis Pauline Gumbs)

                “What is the scale of breathing? You put your hand on your individual chest as it rises and falters all day. But is that the scale of breathing? You share air and chemical exchange with everyone in the room, everyone you pass today. Is the scale of breathing within one species? All animals participate in this exchange of release for continued life. But not without the plants. The plants in their inverse process, release what we need, take what we give without being asked. And the planet, wrapped in ocean breathing, breathing into sky. What is the scale of breathing? You are part of it now. You are not alone.”-Alexis Pauline Gumbs, Undrowned: Black Feminist Lessons from Marine Mammals, p. 1

                The other day I was walking after a conversation that left me feeling unbalanced, unsafe. Through beautiful hills, I should add: sundrenched gold grass and oaks holding up the tiny ocean depths of their deep shade. Woodpeckers on the branches. Deer resting. But that conversation had me feeling scared, so I imagined some of the people I’m closest to walking with me. Their feet in these hills. Then I realized they weren’t just walking: one of them was wearing gold pants and dancing. One twirled their fingers, chunky rings glinting in the sun. Some were laughing. Some sad. Some transforming. And all of us were breathing.
                All this has me thinking about Gumbs and the scales of breathing. Because after I started imagining these friends and teachers and guides with me, I felt so much more grounded. So much more possible. My breath possible. My fear possible, too, but not as an ending: as thorny brambles in these sunwashed hills. And then as I pay more attention to these people dancing along with me, I feel how we’re dancing along with the gold grass (dry, now, and shining, and green again when the rains come) and the trees (their roots digging into the earth in a way that teaches holding, while at the same time they tickle and are tickled by sky). And I remember Gumbs. You are part of it now. Breathing and breathed along as skies inhale ocean, exhale summer breeze.

by Azlan

466: A Riddle (Richard Wilbur)

“Long daughter of the forest, swift of pace.
In whom old neighbors join as beam and brace,
I speed on many paths, yet leave no trace.”
-Richard Wilbur’s “Navis,” which is a translation of a riddle by Symphosius

                I’ve been going through boxes in my mom’s garage. Some of them I packed ten years ago, or twenty. Some my mom packed when I was small, and a few have envelopes or little boxes my grandma collected when my mom was small. Today we found my grandma’s birth certificate and coins she saved, complete with a handwritten note to my mom explaining that these would be valuable and they were “for the grandkids.”
                A few days before that I found my college copy of Richard Wilbur. The poem I quoted is from a series of riddle poems. I’m trying not to give away the answer. That way you can go walk around with i if you want. (The implied question in this series is always, What am I? And Wilbur uses the answer, in its original Latin, as a title). Leafing through this book, fifteen years later, I recognize so many of the poems. Looking through these documents and pictures, so many years later, I recognize so many of the moments. I’ve forgotten or never knew so many more. So many of us, joining to brace each other. So quick the way our lives wash through each other. I like how the poem and old handwriting and the act of remembering are all riddles, or could be. Are all inviting me to sit for a moment, or walk along with the image, listening to its hints.

by Azlan