to fred
see you later alligator
On Saturday, February 13th, Lucille Clifton passed away at age 73. A remarkable poet, a woman of grace and strength beyond the ordinary human, and always beaming brighter than the sun itself, a master of the art of JOY.
I received the news from a dear poet friend who knew Ms. Clifton very well. I am grateful for the personal message rather than discovering the loss on line or on the news. But the news traveled faster than the speed of sound and the internet was humming. There were grieving words all over Facebook. I became very quiet in my own sadness.
For years I have been saying that Lucille Clifton is the woman I want to be when I grow up. With the news of her passing, I will strive even harder. Ms. Clifton has been my role model since well before the day I met her in the garden at a posh Rochester home years ago. And more so, since then. But that day was a life-changing experience.
It was a gorgeous June afternoon. "Blessing the Boats" had just been released and I was invited to a reception in her honor before she read and spoke on behalf of an incest survivor organization. Of course, Ms. Clifton was regal, seated among the blossoming vines and shrubs. The light of the late day sun was as soft a gold as her own light.
Coaxing Nectar from Longing, my first book was in print and I brought my "freshman" gift to offer to this wonderful teacher and inspiration. I felt just as I did at the end of the school year in elementary school when I would present fresh cut peonies from our yard to my teacher as my parting gift. My inner kidlet was pushing through and I was shy, tongue-tied.
I was invited to sit by her with a gentle pat of her hand on the seat of the lawn chair beside her. She was sure we knew each other although we had never met before that day. Yet I felt like I was with a cherished auntie and she made me so comfortable as she greeted each who came to shake her hand, extend their admiration. She shared that she was originally to be named "Georgia" but that changed after she was born. She shared so many small things with me that afternoon and in it, I became a better me. There I sat by her side through the cocktail hour until it was time to leave for the venue. It would be the first of several times that she and I would meet, although always briefly, since so many people needed so much from her.
That evening, as she unfolded her story through and around her poems for a standing-room only audience jammed in the hall, we all were transfixed and transported. This would not be the only time I would bear witness to this honesty and power.
At the end of the Q & A, I raised my hand. She called on me with that welcoming smile. My question was simple: "Ms. Clifton, with all that you have experienced, that you have been through, how is it that, like some of us, you choose JOY?" She gave me that pointed, gleaming smile again as she walked from behind the podium to offer her response.
"I choose JOY because I am capable of it...and there are those who are not."
She went on to explain that she felt it her responsibility to be an example of thriving, not just surviving. She said that survivor mode is victim consciousness, which does not take one into true healing.
She said much more, messages that I heard from her at other readings, events, fundraisers for breast cancer support and research, etc., after this first astounding evening. Her words became my mantra. At times her words, as her poetry, have been my lifeline.
Last year, at AWP, I was able to visit with her for a short time in all the fray. I presented my second book as my gift again. I thanked her for all I have become because of her. Then I sat beside Jennifer Pashley during the tribute to Gwendolyn Brooks as Lucille read the poem “A Mother,” one of the most moving pieces of verse I have ever read. She rendered her dear friend’s poem with sensitivity and heart. Jennifer and I were given to hot, salty tears.
There have been whisperings that we would not have Lucille Clifton much longer for a couple of years. She survived multiple face-offs with cancer, kidney failure, other ailments, too much death around her, and the fact that she experienced the damage and violence of incest. She was a warrior in so many ways and one quite capable of righteous indignation. Like me, she never completed her Bachelor’s degree but never let even that stop her from satisfaction and success.
Now, as her soul has soared home, as we bathe ourselves in our own memories for those of us fortunate enough to have met her, as those who have known her through her poems immerse in her presence, we remember that smile, that fearless voice for what is right and true, the majestic simplicity of her craft, and we must remember to be JOY in all ways in order to honor Ms. Lucille Clifton, our beloved elder, way-shower, bright light.
Thank you so very much and blessed be, dear One.
Georgia Popoff is a poet with two published collections of poetry, a teaching artist, arts-in-education professional development specialist, editor of Comstock Review, Downtown Writer’s Center faculty member, and board member of the Association of Teaching Artists. Georgia is Poet-in-Residence in numerous school districts and also teaches adult writing workshops.
Write about a moment in your life that still haunts you. Could be something wonderful (first kiss) or something horrible (first great shame). But it should be the sort of memory that you can't shake. Now write about the actual moments of peak emotion. This should be a very short period of time -- no more than a minute. It's good to set up the situation with some context, so we know what's going on. But once we do, try to slow down as much as you can and write about what you were seeing and hearing and thinking and feeling in that moment of peak emotion. The idea is to capture everything that's going on -- emotionally, sensually, intellectually, psychologically -- in those moments that matter most.
I can’t remember where I first encountered Steve Almond’s fiction, but that first taste left me hungering for more. I got my sweaty hands on My Life in Heavy Metal, Mr. Almond’s first story collection and eagerly read it. The book had been criticized for containing too much sex, as if such a thing was possible, but I found it, like Mama Bear’s porridge, to be just right. In short order I read, The Evil B. B. Chow and Other Stories, Mr. Almond’s second collection, and devoured Candyfreak: A Journey through the Chocolate Underbelly of America. “On the Road” for chocoholics, Candyfreak describes Mr. Almond’s travels in search of the offbeat candy makers who toil in the shadow of Mars, Nestle, and Hershey’s.
I admired Mr. Almond’s flamboyant use of language, the way he pushed the boundaries of metaphor, and his relentless refusal to take the world and himself seriously. Reading Steve Almond inspired me to be more adventurous in my own writing and to take myself a little less seriously.
Then I read Which Brings Me to You: A Novel in Confessions written with Julianna Baggott, in which a thirty-something couple recount their former love affairs in a series of letters. It is Mr. Almond’s and Ms. Baggott’s compassion for their protagonists, their warm embrace of each character’s follies and foibles that elevate the letters above mere pillow gossip. Mr. Almond, who has said that he loves writing sex scenes, is particularly adept at elucidating the pungent, viscous, tactile realities of sex, teasing out the underlying comedy inherent in lovemaking, without ever allowing the desperate groping, grasping, and fumbling of his characters to slip over the line into caricature or threaten the frontiers of good taste. I loved it. I wanted to grow up to be just like Steve Almond.
John Sheedy graduated from Syracuse University, and is a current 2nd year DWC PRO student in fiction. He is the rarely published author of short stories and enjoys good fellowship as much as the next man.
Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry. -- Mark Strand
Throughout Central New York on Saturday, February 6th, the aromas of fine foods and the words of noted area writers will waft as the 2010 YMCA Arts Branch LiterarY Dinners commence in the early evening. Each year, on the first Saturday in February, Y-Arts friends and Board members host dinners in their homes to support the many programs for youth and community that are provided by the Y-Arts Branch of the Greater Syracuse YMCA. Afterschool programs, arts-based learning experiences for youth, music lessons, and the Downtown Writer’s Center all benefit from this community-driven fundraiser. The cuisines vary from home to home but may include Indian, Tuscan, southern style comfort food, tapas, all dependent on the hosts’ talents and palettes. If you would like to attend next year’s LiterarY Dinner, contact Phil Memmer at 315.474.6851 extension 328. If you care to donate, make your tax-deductible check out to the YMCA and mark Y-Arts in the memo. To those who are dining together Saturday, bon appetit!
Georgia Popoff is a poet with two published collections of poetry, a teaching artist, arts-in-education professional development specialist, editor of Comstock Review, Downtown Writer’s Center faculty member, and board member of the Association of Teaching Artists. Georgia is Poet-in-Residence in numerous school districts and also teaches adult writing workshops.
Santee Frazier is the next poet to share words with the DWC community at 7 p.m. tonight, Friday, February 5th. Santee will be reading from Dark Thirty, released by University of Arizona Press.
Through the miracle of the internet, Santee and I shared a few short exchanges based on random questions of my own design. In spite of the press of both of our busy lives, we had a few moments before our screens for the following:
Georgia Popoff: Because place is such an important element informing the poet, your roots in Oklahoma must be a significant aspect of your voice. So I would like to ask three questions about you from that perspective: First, What is the most common misconception you think people have of your home state?
Santee Frazier: Usually what people associate with Oklahoma is that the people are somehow less intelligent due to their prominent accent. People often associate Oklahoma (southern) hospitality as a simpleton small talk, which it is not.
GP: What would you say to someone who first noticed these two highway signs and were confused: "Correction Facility - Do Not Pick Up Hitchhikers" and "Don't Drive into Smoke?"
SF: Only if the hitchhiker is a relative do you pick them up, which also depends if said relative owes you money, other than that wave and carry on. Smoke in CNY? It would most likely be fog so I would say drive on through. If in California, on a smoky day near Folsom prison, do not pick up the guy in the white D.O.C. jump suit with tears tattooed in his face. Unless of course the fire and smoke were all apart of the escape plan you hatched over a series of collect calls with your self-proclaimed "innocent" cousin, in which case you need no longer worry about driving.
GP: Thanks Santee...as for the road signs...I was referring specifically to those in Oklahoma. They fascinated me.
SF: I have never really seen these signs. It’s been 10 plus years since I spent any real time in Oklahoma. I have lived in New Mexico for more than half my life, and sometimes I feel more New Mexican than Oklahoman. Either way I wrote a response:
Oklahoma is known for becoming very dry in the summer time. The grass dies, and naturally, susceptible to fire. The fires spread fast and are almost uncontrollable and can be very dangerous for highway travelers, hence the signs. No doubt adding the do not pick up hitchhikers element of the sign is there because most of the Oklahoma state prisons are located in rural areas were the fires pop up in the summertime.
GP: What sound do you miss most since you have been living in the Northeast?
SF: The sound of sand splashing against a window.
GP: Other questions: Your blog is all about food. What was the first meal you ever made and how old were you?
SF: I was home alone one night and made this weird version of Hamburger Helper when I was about 10. I browned some ground beef, salt, pepper, cut some potatoes, and splattered a bunch of ketchup into the pan. I added a cup of water to make the sauce. I waited until the potatoes were soft, then I grubbed out in front of the TV and watched Married With Children.
GP: What is your favorite thing to order off of Simon's menu when you have dinner at China Road and how hot do you like your entrees?
SF: I tend to order a variety of dishes when at China Road (the prices are so reasonable). We order the fried dumplings to start. Then the Szechuan beef noodle soup, tea smoked duck, and Shanghai Veggies. I usually like the my dishes (as a former resident of New Mexico) very spicy. Simon usually brings out some of his spicy salsa for me to add to my dinner. Lately we have been ordering the Chicken Chindoo style. We usually like to spy on other tables to see what they order.
For more about Santee, please visit his home page. You can also follow his terrific foodie blog if you love to cook and dine. We hope you will join us at the DWC for Santee’s reading and to meet him yourselves.
Georgia Popoff is a poet with two published collections of poetry, a teaching artist, arts-in-education professional development specialist, editor of Comstock Review, Downtown Writer’s Center faculty member, and board member of the Association of Teaching Artists. Georgia is Poet-in-Residence in numerous school districts and also teaches adult writing workshops.
When I find myself not moved by voice, memory, or music, instead of staring at the computer screen, I type out one of my favorite poems. The act of typing accomplishes two things: you get to know the formal considerations of the poet (how they navigated the page), and you gain an intimate relationship with the text. After I have typed the poem I look for artistry, meter, phrasing, etc.... I really don't spend much time deciphering the poem being that interpretation plays little or no role in how this exercise conducts itself. From there I find all of the nouns in the poem, writing out a list, then I pull out my dictionary and begin replacing only the nouns (I usually don't replace the verbs being that I want to keep the structure of the poem).
This exercise will yield varying results depending on how much effort goes in the act of replacing the nouns. I find the best results come when I spend a great deal of time researching then replacing the nouns, rather than using the first word that pops into my head (usually a synonym pops up, boring). For instance using words related to anthropology will drastically change the poem’s meter and tone.
First start out with a short poem, and then slowly build up to something longer (the longest I have tried was Jorie Graham's "What the End is For"). Most of the poems will not be keepers, but the exercise helps build skill set and sharpens your abilities to glean poetry for reasons other than explication.
Rather than becoming frustrated and abandoning your daily writing ritual you can practice this exercise. After a few tries you will notice interesting things happening when the words juxtaposeand begin creating language.
Santee Frazier is a citizen of the Cherokee Nation of Oklahoma. He holds a BFA from the Institute of American Indian Arts and an MFA from Syracuse University. His poems have appeared in American Poet, Narrative Magazine, Ontario Review, and other literary journals. His first collection of poems Dark Thirty was released by the University of Arizona Press in the spring of 2009.
