Messages across seas

Delighted to share with you a translation just now out in the wonderful journal Asymptote. I love this journal, its global intention attention & compass. Check out this map of their scope and multiplicity.

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My little poem is a pre-modern throwback in an issue otherwise on translation’s front edge. (Okay, there’s some Tzara, too, but he’s still.) Grateful they thought to find room for it. Thematically it does I guess fit an issue called “People from the In-between.” It’s got people at a loss, unbridgeable textual gaps, and runes – runes how to make meaning from which is all dispute.

Well see what you think it’s here. With floating footnotes, and the Old English, and me reading said Old English badly, should you wish to go there.

Whole issue’s rad. Especially worth your time and heart, the special feature on “literature from banned countries,” i.e. those seven or six singled out by the present US administration’s unconscionable incoherent & never mind that they’re unconstitutional travel bans. I’m having a little trouble finding the special section as a cluster, but here’s the headline piece, then you can just wander over borders, as surely mostly we should be.

Wander or sojourn or flee as our luck has it. I avoid the word “privilege” as calcified but I am luck-filled. Many on the map above are not. Many pressed against borders are getting fucked by the stick of the world. May you come to places of rest. You should have, & it’s in the UN Declaration of Human Rights, Trumpwad, so you’re a signatory, you should have a place to live that’s safe for you to love & work & love more & live & die meaningful lives and deaths.

Didn’t expect to go there. (As I say always to my students, boringly to them, let the track of your writing startle you.) Got to get to work on something blah & bureaucratic, plan for the annual fundraising drive for the Zen centre I somehow ended up on the board of, & what why me. But reading this article in The New Yorker has shocked the living shit out of me.

These women and girls and men are moving up Africa along the old slave-trading routes. And what they endure on the journey and when they arrive, if they do arrive, seems to this far away safely sheltered reader impotently empathizing no less than what the slaves did in olden days when they were fuelling the economic growth of the Americas.

Got more on this. For instance bringing it to my nonfiction workshop’s notice, and putting it beside Ta-Nehisi Coates’s Between the World and Me, and his effort to broaden a indictment of systemic American racism into a critique of global inequality, including climate change. That’s for another post. God and damn it’s all connected. Where to snip the thread? Thank you friend. May I call you friend? If you’ve read this far.

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Maggie Nelson, The Argonauts

Can’t tell you how moved I am by this book. Opens my head and heart and spirit and helps me to love the great bawling mess of meat and lust and loss and peace all at once I am. I hope it speaks to my students also. Assigned it because they are, as a body, far more engaged with and alert to questions of gender, identity, fluidity, than I, and I wanted a book that would meet and maybe challenge us all there.

We’ll see how it goes next week. I’m guessing it will. Here are the assignments I put together for my creative nonfiction students this morning.

Journal no. 1

On page 5 Nelson makes the first reference to her book’s title. “Just as the Argo’s parts may be replaced over time but the boat is still called the Argo, whenever the lover utters the phrase ‘I love you,’ its meaning must be renewed by each use.” So we have an image of a voyaging entity that changes in all its parts and yet persists under a single name. And Nelson has named her book, not for the boat, but for those who voyage on it. What is she saying (proposing, hazarding, trying out) about love here? Is the image of the Argo, the Argonaut, applicable to anything else in or about the book?

Journal no. 2

The content of The Argonauts affirms fluidity over binaries and rigid categories – continuities. Gender is fluid. Eros itself is fluid, bonding lover to lover, parent to child, human to animal. Meanwhile the form of the book is full of discontinuities. Every time we move from one collage element to another, we leap across a gap. (Often even within a collage element, there are gaps to be leapt.) What do you make of this difference between the book’s content and its form? How might it serve Nelson’s purposes?

Writing no. 1

Begin a collage essay by writing two discrete (they need not be discreet) collage elements. Each can be about whatever you like, but they should be substantively different from each other, in content, technique, tone, theme, and/or diction. The differences between them should be alive – you, we, should feel a pulse of curiosity or excitement or WTF as we move from the one to the other. If you don’t feel that excitement, start over, because you’re not going to want to keep working with this material.  ¶ Other pointers. Remember the distinction between scene and exposition. When you’re doing scene, use your arsenal of fiction-writing techniques; rely on concrete significant details; embody your meanings in acts and events. When you’re doing exposition, avoid banal generalities, make your thinking interesting, fresh, alive, your own. Feel free to tear a page from Nelson and incorporate found materials – Deleuze, Irigaray, Plato, Lady Gaga.