April 21, 2014

April Come She Will


The air is finally temperate in DC, so the windows are open warm enough to open the windows. The neighboring crews are working their mowers. I'm snacking on raw walnuts. "April Come She Will" is playing in my head. Not one of the best or best-loved Simon & Garfunkel songs (my favorite is "American Tune") but it has a gentle charm. In the 19th-Century traditional that inspired the song, the subject was a cuckoo--a male--and the nursery rhyme culminated in his August flight. The Simpsons used it in an episode called "Beware My Cheating Bart."


This is not my soup. This is Eduardo C. Corral's soup, who once used to post regularly at Lorcaloca, but who as of late has been a little busy being a rockstar poet and touring for Slow Lightning (if you get the chance to hear him read, do). This is menudo with tripe, but it's only a few degrees removed--switch in pork, add hominy--from the posole that I love, and ate most recently in Santa Fe. Although soup is generally presented as a peasant food, for me it evokes luxury. Luxury of time, to prep and layer ingredients and simmer for hours. Luxury of having a full fridge you can raid for tasty odds and ends. Luxury of not worrying about the inevitable salt bloat to follow. Soup is what I think of eating when I am truly at home. 



For much of later March and early April, I was not at home. (Hence the silence here. I missed you!) This is snapshot from a dawn flight out of Memphis. 

Thanks to the Georgia Poetry Circuit, one of the best opportunities I've ever had as a writer, I read in Bainbridge, Columbus, Macon, Valdosta, and Statesboro. Five towns, five days. The rampant Spanish moss was a reminder that I was in a place from another time. A state rife with conservatism--one GPC coordinator jokingly called his town the "pulsing red heart" of an already-red state--but also a lot of kindness and creativity. 

Also, some epic houses. 
…including the home of Carson McCullers (The Heart Is a Lonely Hunter). I gave an extemporaneous lecture to a crowded living room of students on the art of revision, manuscript strategies, and the writing life. I slept in her basement. 
Columbus was my favorite stop because of its utter surprises, which included a studio visit with the artists Bo Bartlett and Betsy Eby. All I knew about Columbus beforehand was its proximity to Fort Benning. I came away so impressed with the efforts to revitalize the downtown, including the decision to convert old mills to artist and loft spaces, and to open up a dam that transformed the Chattahoochee River's flow, for the 10 miles adjacent to the Riverwalk, into a whitewater passage open to the public. 

Several times over the years, folks have recommended One Flew South as a transformative airport restaurant experience. So--faced with a layover in Atlanta--I opted for a longer stretch instead of my usual 30-minute sprint between gates, and tracked OFS down in Terminal E. Folks were right! The conversation flowed as if we were all regulars, trading stories and cracking jokes. I don't know which was tastier: my lychee-sake cocktail, or the off-menu "Brown-eyed Girl" of bourbon with a float of malbec (yes, really), or the hamachi-pickled-pear hand roll, or the chicken soup with five spice. But I will never again dread the Atlanta airport. 


This may seem an odd pronouncement coming off such pleasurable travels, but I've been considering a more traditional job. Not because of financial hardship; although freelancing is not an easy life, I've had a fortunate stretch of opportunities and windfalls this year. But when I consider what comes after Count the Waves, I'm drawn to strange ideas--personal and scholarly--things that on first draft will probably seem like a mistake. I'd like to provide shelter for those ideas to grow. I worry about losing something in the trade, of course. But so much unhappiness is rooted in resistance to change. The jobs I'm considering are dear to my heart and my skill set. And, frankly, even the best soup at One Flew South will never compare to the one I have time to make in my own home. I'm only 33. There will be so many ways to live this life. 

March 26, 2014

On Lyric Essays


There's a vase of daffodils on my table, and snow on the ground outside: welcome to DC's confused, confusing spring. One of my students in the University of Tampa's low-residency MFA program is interested in using the "lyric essay" as a drafting mode. In rounding up resources to help her out, I thought I'd share my findings here as well. 

To begin, where does the term originate? Although both "lyric" and "essay" are concepts visited by generations of many writers past, the coinage conflating the two appears definitively in a 1997 issue of the Seneca Review. In an introduction, editor Deborah Tall and associate editor John D'Agata elaborated on the phrase this way:
The recent burgeoning of creative nonfiction and the personal essay has yielded a fascinating sub-genre that straddles the essay and the lyric poem. These "poetic essays" or "essayistic poems" give primacy to artfulness over the conveying of information. They forsake narrative line, discursive logic, and the art of persuasion in favor of idiosyncratic meditation. 

The lyric essay partakes of the poem in its density and shapeliness, its distillation of ideas and musicality of language. It partakes of the essay in its weight, in its overt desire to engage with facts, melding its allegiance to the actual with its passion for imaginative form. 

The lyric essay does not expound. It may merely mention. As Helen Vendler says of the lyric poem, "It depends on gaps. . . . It is suggestive rather than exhaustive." It might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic. Generally it is short, concise and punchy like a prose poem. But it may meander, making use of other genres when they serve its purpose: recombinant, it samples the techniques of fiction, drama, journalism, song, and film. 

Given its genre mingling, the lyric essay often accretes by fragments, taking shape mosaically - its import visible only when one stands back and sees it whole. The stories it tells may be no more than metaphors. Or, storyless, it may spiral in on itself, circling the core of a single image or idea, without climax, without a paraphrasable theme. The lyric essay stalks its subject like quarry but is never content to merely explain or confess. It elucidates through the dance of its own delving.
I would summarize thus: The lyric essay values the tension of juxtaposing objective and subjective material. The lyric essay emphasizes language as a means of engagement, equal to or exceeding its value in conveying information. The lyric essay does not emphasize argument or traditional closure. 

Since I published first in the genre of poetry, then in nonfiction, I am sensitive to the explanation the lyric essay is merely a compromise or indulgence--a "poet's version of prose." It's true that in moments when others report, poets meditate. Poets such as Sarah Manguso and Nick Flynn have written masterpieces of the lyric memoir. But that's a choice, not a default. Plenty of poets have written cogent, journalistic pieces or chronologically coherent personal essays over the years.

So why turn to the lyric essay? On a pragmatic level, here are some circumstances in which the lyric essay might prove advantageous:

-The essay concerns a personal episode in which the author lacked power. Lyric moves, particularly fragmentation and passive voice, enact a lack of agency on the page.

-The goal is to use a received form or numerical formula, e.g. The Twelve Steps of Alcoholics Anonymous or the Five Stages of Grief, and comment on its efficacy.

-The author does not have access to sources for key aspects of the traditional "story." Lyric moves, particularly litany and stimulative truth, bridge these troublesome gaps. 

-The language and images are the driving motivation of the piece, and stream-of-consciousness observation, sacrificing traditional narrative, is the only way to go. 

And there's the simple--not to be underestimated--sway of aesthetic appeal. Lyric essays offer a space in which an author can weigh a topic without passing judgment. The critical thing is that adopting the mode not be seen as a kind of "almost poem," nor a "pseudo-essay." I like Lia Purpura's take in this interview for Smartish Pace:
Laura Klebanow: It seems you came to write poetry first, and prose poetry and essays next. Is this correct, or has your work in each genre developed less compartmentally? For example, do you ever start a poem and watch it become a prose poem or essay, or vice versa? 

Lia Purpura: The issue of how one discernible genre grows from another is utterly mysterious to me. I’m certain that I’m writing prose, though my essays are called “lyric essays.” In fact, I’ve just written an essay titled “What is a Lyric Essay?” for Seneca Review. In it, I’m making a plea for allowing the form to remain as mysterious as possible. I do mean “mysterious” though in the best way – challenging and magical and able to work on a reader and knit up above the page. I don’t mean at all “unclear” or “sloppy”. The language ought to be as precise as possible in order to affect the most unlikely moves. When I’m writing, an impulse makes itself known as a prose itch or poem-itch. Some failed poems have extended out into prose and found their musculature that way. I don’t think a derailed essay has ever turned itself into a poem.
In the last fifteen years, lyric essays have come to be more accepted in mainstream publishing, and as they have become a more frequent sight at the workshop level. Subsequently, teachers and editors have developed a vocabulary surrounding their craft. These are some of the models I consider most useful when recognizing a lyric essay:

-The Collaged Essay - Collages embody an emotional, intellectual, or historical experience without unifying explanation. They may freely incorporate photographs, poems, maps, or other multimedia modes, including texts "found" elsewhere, e.g. Reality Hunger by David Shields. Asterisks often denote section breaks.

-The Braided Essay - Unrelated topics, perhaps set in different eras, develop a common theme. Brenda Miller's "A Braided Heart: Shaping the Lyric Essay" is an apt explication. I like her analogy to french braids, in which patterning renders slippery, homogenous materials--e.g, strands of hair--more interesting by adding texture. 

-The Hermit Crab EssayAn author responds to an external cultural product (a well loved album), but gradually reveals an internal landscape (the relationship that corresponded to that album). As Dave Hood says, "This type of lyrical essay is created from the shell of another." These essays are sometimes masked as reviews. 

These are trends, not sole categories. Lyric essays also tend to be particularly rich in litany, parallel structure, and what I call "stipulative truths," which include imperative voice, grafted images, or invented tableaus. 

Below are some favorite or oft-cited examples of authors working in the mode of lyric essay. I'd recommend them to any student looking to assemble their toolbox. 

- Michael Martone's "More or Less: the Camouflage Schemes of the Fictive Essay" - This essay toggles between iterations of camouflage and Kurt Vonnegut's Slaughterhouse-Five; the sections are described as being in "arbitrary order" and in a signature move, the author's bio is a contributing creative text. 

- Priscilla Long's "Genome Tome" - This essay uses a received form (the 23 pairs of chromosomes that make up a typical DNA strand) to structure Long's mediation on personal and inherited identity, weaving in scientific case studies. 

László Krasznahorkai's "Someone’s Knocking at My Door" - This essay uses a circular structure, with slippage between observer and observed, to enact the state of anxiety or, as he put it, the "terrible meeting between boorishness and aggressiveness."

- Maggie Nelson's Bluets - This book-length work itemizes meditations on "blue" as a color, a term, even a musical mode, looking across cultures and time periods. 

Eula Biss's "The Pain Scale" - This essay uses a visual construction (advancing from 0 to 10) to pace her exploration of suffering; Biss spikes a particular domestic setting with outside references to Anders Celsius, Dante, and Galileo Galilei. 

- Kiese Laymon's "How to Slowly Kill Yourself and Others in America: A Remembrance" - This essay juxtaposes the author's own experiences against news stories of black youths killed under questionable circumstances; note the rhythmic use of standalone sentences, defiant of normal paragraph organization. 

- Ander Monson's Vanishing Point: Not a Memoir - This book-length work interrogates the privilege of fact versus fiction; Monson's website complicates the notion of "reading" as a linear act, and includes the wonderful "Essay as Hack."

- Jenny Boully's The Body - This book-length work's text is posited entirely via footnotes that might take the form of assertions, postcards, Mad Libs, and so on.

- Roxane Gay's "What We Hunger For" - This essay opens in response to The Hunger Games before accessing a harrowing, firsthand experience of gang rape. 

- David Foster Wallace's "Ticket to the Fair" - This essay's structure is a variant on journalistic chronology, but what distinguishes it is the extravagances of DFW's attention; he freely telescopes between minute details and vast cultural intuitions.

Subsequent proponents of the form have not always agreed with the terminology. At the most recent AWP Conference in Seattle, Kathleen Rooney argued for the phrase "Open Form Essay." In a 2012 Black Warrior Review interview, Maggie Nelson resisted the label in part because of its connotations with "pretty" writing:
BWR: You are a writer that is often associated with the Lyric Essay. I find that term to be quite useful, but I’ve come to realize that many people use that term to mean wildly different things. Do you use Lyric Essay to describe your, or other’s, writing? If so, how do you characterize it? 

MN: I don’t use it to describe my work, because I’ve never written anything that I thought of explicitly as an essay. (I’m trying to write more essay-like things now – it’s very different, and I don’t really have a clue how to do it.) On the other hand, I conceived of both my books The Red Parts and Bluets as continuous flows, albeit jagged up into titled or numbered pieces, and so treating them each as one long essay also seems kind of right. I don’t mind if anyone calls my work “lyric essay”; I don’t care much about classification, as it comes after the fact of the writing. “Lyric essay” likely covers a lot of writing that I like, but honestly, and I’m just speaking personally here, the words themselves kind of bug me. They make it sound like the pieces have to be self-contained and pretty, song-like. Whereas some of the work I like the most is more chafing, awkward—ugly, even. And sometimes sprawling—think of Wayne Koestenbaum’s recent Anatomy of Harpo, for example. That’s why I usually stick with the broader, albeit pretty boring, moniker, “creative nonfiction.”
It might be counterintuitive to include a quotation that questions the very usefulness of the phrase. But "lyric essay" is admittedly a fledgling term. In the absence of rules, the author of lyric essays must summon more self-discipline, not less. Each word choice counts, because you've asked your reader to be primed for every conceivable motif, pattern, tense shift, found text, or other linguistic switcheroo. Traditional indicators of priority on the page have been stripped away. I'm wary of the lyric essay draft in which stylistic meandering is costumed as "figuring it out." That's laziness. Even if the writing suspends judgment, the writer must have clarity in his or her understanding. 

Do we need this term? One of the clearest distinctions between poetry and prose, in my mind, has always been that prose is assigned a truth value--fiction or nonfiction--while poetry is not categorized in such terms. Does attaching the "lyric" modifier shift our expectations, allowing the essay to straddle truth values? Can an essay contain fictional conventions, or does that mean it has become a short story, albeit one rooted in fact? Readers of John D'Agata's The Lifespan of a Fact or John Jeremiah Sullivan's Pulphead, specifically "Violence of the Lambs," might find this a resonant question, and in a brief piece for The Lit Pub, Roxane Gay argued that the perceptible "playfulness and manipulation of a world" is at the very core of the lyric essay's appeal. 

In poetry, we use the word lyric to denote a particular attention to the "I"; the speaker's thoughts and perceptions are the central draw, rather than the culmination of a story. The poem's energy spins around a fixed point, rather than arc-ing from A to Z. Is a blurring of reportable fact the inevitable consequence of emphasizing the "lyric" in an essay? 

I'm fascinated by the texture of truth, the way we establish authenticity and authority on the page. Regardless of whether the "lyric essay" is taught one hundred years from now, the term is a potent description of contemporary American aesthetics toward the last two decades of personal writing and, I suspect, for at least the next decade to come. All the writers mentioned above are worth your time, consideration, and consternation. I'll leave it at that; these are just some notes toward a larger discussion. 

March 11, 2014

On Wonder

My cousin-once-removed Charles H. Swift passed away on Friday. When he retired back in 2002, he'd been a teacher for 35 years, much of it spent as a beloved teacher in the Lubbock Independent School District. In these final weeks of his illness, I loved seeing the parade of student tributes on his Facebook page, and the snapshots (such as this one) contributed by colleagues on the countless trips Charles led to any of the 68 countries he visited. 

We spoke for the last time on a January snowy night while I was at the Millay Colony, dependent on the static-ridden land line stretching the miles to his Texas hospital room. He told me to visit the Walter Anderson Museum in Ocean Springs, Mississippi; he teased me for not having my New York Times piece in print already ("I'm on kind of a tight timeline, here," he said, chuckling). In another world, we could have been very close; it's odd to realize he'd dedicated his life to fostering the exact kind of nerd-child I grew to be in northern Virginia, attending Thomas Jefferson High School for Science and Technology. He always brought around his rock collection, his carved-wood canes and pens; at my grandmother's funeral, he told stories about smuggling snakes. He will be missed. It is what it is, and he departed this earth knowing he was deeply loved. That said, these losses are irreversible, and I haven't felt like being on the internet as of late. 


But oh, a reason--a reason Charles would love--looms: I gotta tell you about this thing coming up. On Tuesday, March 18, I am bringing Brian Jay Jones to the Arts Club of Washington, to talk about his biography of Jim Henson. Yes, THE Jim Henson, a.k.a., the man who gave us the best characters of Sesame Street, The Muppets Show, The Fraggles, Dark Crystal, and so on. A man who said, “The most sophisticated people I know--inside they are all children." A man who actually got his start while a teenager in Hyattsville, Maryland, showcasing his young imagination on Washington-area stations (Jones will be sharing rare, archival video clips). Brian's behind-the-scenes journal of writing the biography, posted here, reveals a sensibility that is funny, humble, and very attentive to detail, all of which is reflected in this incredible book. I can't imagine a better event to raise your spirits or mine. This event starts at 7 PM (details here), and is free and open to the public; please join us, and spread the word. The Arts Club is at 2017 I Street NW DC, convenient to metered street parking. See you there?

I can't even wrap my arms around how much I love the Muppets; their bright colors, their silly songs, their bodies at once specific and abstract, their unapologetic curiosity, and O yes, their sense of wonder. There was never a sense, behind the puppet or in the moment, of talking down to one's audience--even when skimming across the surface of a vast pool of knowledge and humor. And that makes me think of Charles H. Swift. 

February 25, 2014

Seattle-Bound Confessions

Like so many writers, I am making my way to Seattle for the 2014 AWP Conference, where I'll be taking part in Thursday night reading for The Incredible Sestina Anthology and sitting in on a Friday noon panel "Verses Versus Verses," on poetry contests. I'd love to see you at either event, or on the book fair floor, or at one of these seafood restaurants, or over one of the cocktails described on Leslie Pietrzyk's blog. If your dance card is already filled and we don't see each other, just have a good time per the advice of Kelli Russell Agodon, hydrate and navigate per the wise words of Roxane Gay, and treat your hotel staff right.

It's been fun seeing everyone report what they're doing, on Facebook and elsewhere, but there hasn't been enough attention to those plans where we're simply excited to be in the audience. This year's official event schedule has some pleasing variances--discussion of writing for YA and children's audiences, the graphic novel or comic as literary work, and a spotlight on Pacific Northwest literature, including indigenous voices and Hawaiian writers. Check 'em out. Panels on the influence of Kurt Cobain and Bob Dylan? Yes. In venturing to off sites, be sure to support Elliott Bay Book Company and the Richard Hugo House; since the latter is closed on Sunday, my free day to explore, I'm going to try and make it by for the VIDA reading on Friday night.

I've only been to Seattle once before, when I was in my mid-twenties and working for a nonprofit that held its annual conference there. One of my jobs was to coordinate a set of awards that had been received by, among others for that year, Robert Pinsky. I'd studied The Sounds of Poetry. He was a former Poet Laureate. He'd been a voice on The Simpsons, for goodness's sake! What greater fame is there? I was so excited to meet him. About a half-hour before events were supposed to start, my hotel room phone rang, and I learned my father--on the other side of the country--was hospitalized with a collapsed lung, larger cause to be determined.

So. I arrived late to the proceedings; as the only poet on staff, I was the only one qualified to spot Mr. Pinsky, who had wandered the crowd, unrecognized and sans name tag or welcoming glass of wine; when I finally got to him, I had nothing better to attach his name tag than a loose paper clip from my purse; the envelope I gave him had the wrong check, made out to one of the other award recipients; I gave him a book to sign--his translation of The Inferno--forgetting I had gotten the copy from a poetry teacher past when he cleaned out his university office. That led to the awkward question "Why is [X]'s name inscribed in my book?"

This is not an AWP fairy tale. There was no networking, only profuse apologies. I revisited these a few years later, when I met him again in the context of a different award. (He had just been on The Colbert Report…the man is popular TV magnet.)

That next morning, right back to work at 8 AM. That night, I ventured to Pioneer Square to distract myself. He played bass.

My last morning in town, I went to Pike Place Market and spent $50 on a huge bouquet, the most I had ever spent for flowers: all of my remaining cash I'd saved for the trip. For my dad. I flew the six hours back to DC with them balanced on my lap.

Not going to Seattle this week? Not a big deal. AWP is a wonderful resource, but an annual professional conference is not the end-all. (The proof is that Tayari Jones is skipping it, and has been for a few years running.) I do recommend is soul-baring trips in your life, 4-5 days when you're pushed to some type of limit, times when the knife scrapes to the bone of ego and you ask--Wait, what? And when the world does not wait: What am I doing? Why am I doing it? That is AWP, for some. But a square is a rhomboid; a rhomboid is not a square. Whatever excursion defines you, tests you, and liberates you, is a lot more important than the abstract of AWP ever could be.