A new poet to me is Kayo Chingonyi, whose work I just was introduced to by a fellow teacher. Here is one of his pieces. The title comes from a Zambian word for initiation.
Since I haven't danced among my fellow initiates,
following a looped procession from woods at the edge
of a village, Tata’s people would think me unfinished
– a child who never sloughed off the childish estate
to cross the river boys of our tribe must cross
in order to die and come back grown.
following a looped procession from woods at the edge
of a village, Tata’s people would think me unfinished
– a child who never sloughed off the childish estate
to cross the river boys of our tribe must cross
in order to die and come back grown.
I was raised in a strange land, by small increments:
When I bathed my mother the days she was too weak,
when auntie broke the news and I chose a yellow suit
and white shoes to dress my mother’s body,
at the grave-side when the man I almost grew to call
dad, though we both needed a hug, shook my hand.
what would he make of these literary pretensions,
this need to speak with a tongue that isn’t mine?
When I bathed my mother the days she was too weak,
when auntie broke the news and I chose a yellow suit
and white shoes to dress my mother’s body,
at the grave-side when the man I almost grew to call
dad, though we both needed a hug, shook my hand.
what would he make of these literary pretensions,
this need to speak with a tongue that isn’t mine?
If my alternate self, who never left, could see me
what would he make of these literary pretensions,
this need to speak with a tongue that isn’t mine?
Would he be strange to me as I to him, frowning
as he greets me in the language of my father
and my father’s father and my father’s father’s father?
what would he make of these literary pretensions,
this need to speak with a tongue that isn’t mine?
Would he be strange to me as I to him, frowning
as he greets me in the language of my father
and my father’s father and my father’s father’s father?
I mentioned the Beth Ann Fennelly article about the role of literature in increasing empathy. Chingonyi's poetry is a good example of how poetry also shares in that ability to shift perspectives and provide insight into another's life. The teacher who shared the info about Chingonyi interviewed him as part of a series of interviews with Dylan Thomas Prize winners. Here is a 10 minute clip of Kayo Chingonyi talking about his writing life. https://soundcloud.com/user-588915112/kayo-chingonyi-2018-winner. More about his work: https://www.theguardian.com/books/2018/may/28/kayo-chingonyi-poet-dylan-thomas-prize
Another good clip I have been meaning to share isn't about poetry per se - and maybe I shared this before? - but this video called "Nihonga: Slow Art" touches on the way faith forms art. This video features the work of abstract artist Makoto Fujimura who was scheduled to speak at University of Dallas for their McDermott Lecture series, but the lecture was cancelled.
https://www.makotofujimura.com/
Meanwhile art-making happens around here in small ways - pictures for elderly neighbors. Potholders. Painting old wooden ornaments. Painting rocks. Sidewalk chalk designs. Baking. Lots of hair braiding and nail art. I have a large stash of craft supplies leftover from co-op and VBS and CRE. Might as well use them up. My intentions to incorporate more art and music into our days are largely still intentions and not actions, a small failure to move from concept to product, but I need to remind myself to focus more on the small successes.
There were a number of small successes and failures yesterday. A failure was spending too much time responding in my head to a Facebook post that touched a nerve. A success was restraining myself from actually responding. A success was spending a pleasant hour in the afternoon sunshine on opposite sides of the sidewalk from a friend as we let our little girls play charades - a good non-touching game. A failure was letting slip that we had made a little field trip back in late March to the mountains and another trip to the military beach about an hour north last weekend. I'm afraid she was a little shocked. I have tried not to talk very much about our little illicit excursions because, even though our interactions with others were very limited - and masked and gloved - they really aren't in the spirit of "Stay home" orders.
I'm afraid I'm not a great team player. It doesn't help that I don't firsthand know anyone who actually has the virus, although a neighbor thinks she had it. A friend of a friend's sister had a bad case and was really sick and in the hospital a few days. Our acquaintances on the Theodore Roosevelt were among the 4/5ths of sailors who tested negative. I am not sorry to have the kids doing school at home, and I don't mind the restrictions on shopping and dining out, but I am inordinately gladdened by the report that the beaches and some parks have opened for exercise. On the other hand, I am sorry to hear about thousands of gallons of milk being poured into the ground, chickens and pigs being slaughtered, and fields of vegetables being plowed under because farmers don't have a market for their food with all the restaurants closed, and they can't afford to nurture, harvest, or process, package, and transport it to the groceries. Meanwhile people are going hungry because they are out of a job and the stores are out of food. How many kids aren't getting their online schoolwork done because they don't have motivation, they don't have access, or they don't have someone to explain concepts clearly? I tend to sympathize with the governors who think there must be a safe way to start reopening the economy now that more masks are available, and people are accustomed to wearing them, and the six feet rule is mostly followed. We shall see.
Enough of my partially formed political thoughts for now. I have been meaning to turn more to reading and research. A success yesterday was I did look up some conferences and literary societies and graduate programs that focus on environmental humanities. A failure is that I have not drummed up enough motivation or time to write up ideas for abstracts. On the other hand, I am loving Saints and Villains, the novel about Dietrich Bonhoeffer I'm reading for my book club. And success: I finally finished Pico Iyer's The Lady and the Monk about his year in Kyoto and his developing relationship with the young Japanese woman who eventually becomes his wife. I checked it out from the library a week or so before everything shut down. The book is a travel narrative. It rambles slowly through the streets and through different encounters. Sachiko, the young lady, is unhappily married and unhappily restrained by the expectations demanded of her by the culture. She gradually spends more and more time with Pico, ostensibly to practice English and to show him Kyoto and the surrounding areas, but also because he represents the freedom she desires. I really like Iyer's writing, but it does not move quickly. It is perhaps akin to the "slow art" that Fujimura describes.
Back to poetry. I learned via social media that Irish poet Eavan Boland died. The poem of hers most familiar to me is "Becoming Anne Bradstreet," but her passing led me down the rabbit trail of reading more of her poems. Here is "Becoming Anne Bradstreet," a fitting poem for Poetry Month about the influence of poets and their words and the power of imagination.
Becoming Anne Bradstreet EAVAN BOLAND
It happens again
As soon as I take down her book and open it.
I turn the page.
My skies rise higher and hang younger stars.
The ship's rail freezes.
Mare Hibernicum leads to Anne Bradstreet's coast.
A blackbird leaves her pine trees
And lands in my spruce trees.
I open my door on a Dublin street.
Her child/her words are staring up at me:
In better dress to trim thee was my mind,But nought save home-spun cloth, i' th' house I find. We say home truthsBecause her words can be at home anywhere—
At the source, at the end and whenever
The book lies open and I am again
An Irish poet watching an English woman
Become an American poet.
As soon as I take down her book and open it.
I turn the page.
My skies rise higher and hang younger stars.
The ship's rail freezes.
Mare Hibernicum leads to Anne Bradstreet's coast.
A blackbird leaves her pine trees
And lands in my spruce trees.
I open my door on a Dublin street.
Her child/her words are staring up at me:
In better dress to trim thee was my mind,But nought save home-spun cloth, i' th' house I find. We say home truthsBecause her words can be at home anywhere—
At the source, at the end and whenever
The book lies open and I am again
An Irish poet watching an English woman
Become an American poet.