Introduction for Jaimie Gusman, winner of the Loretta Petrie Award, 2022

Jaimie Gusman: Loretta Petrie Award, 1 October 2022

(after Joe Brainard’s I Remember)

Remembering my mentor and friend, Marie Hara, who introduced me at the Cades Awards, and hoping to pass on some of her mana to Jaimie.

I remember a young graduate student named Jaimie, arrived recently from Seattle, sitting in my office in the late aughts who told me that Honolulu needed a reading series and that she intended to start it.

I remember thinking “well, there’s a can of worms.” I remember not saying it.

I remember her strong and buoyant voice that day and from then on in classes, meetings, readings, over coffee, and at her beautiful wedding to Evan. My late colleague, Miriam Fuchs, who was pithy, once turned to me and said of Jaimie, “that voice!”

I remember offering what I thought was sound advice to Jaimie, and her not following it. As the poet, Tony Trigilio notes, stubbornness matters to an artist. You’re doomed without it (perhaps with it, too, but we won’t go there!)

I remember not knowing what MIA meant, except like anyone of my generation, “Missing in Action.”

I remember her MIA (Mixing Innovative Arts) at the Mercury Bar in Chinatown, where the bartender waited until a reading had started to loudly shake the ice. I remember the series moved to Fresh Cafe in Kakaako, where there was no barkeep that I remember.

I remember there was a window behind the performers in the Mercury bar. I remember Kaia Sand showing a flickery movie there about the Pacific Northwest.

I remember Jerrold Shiroma projecting doctored Shakespeare sonnets and beautiful bits of graffiti on the wall. He’s from San Diego, but I remember thinking, “very east coast.”

I remember a fabric artist, two or three times, who performed in huge outfits he’d made. I don’t remember what he did, just his imposing and comical and fabricated presence.

I remember the wide range of Jaimie’s selections for the series: local, international, continental, funny, sad, creepy, down to earth. Award winners and award losers.

I remember her engaging introductions, that she clearly loved bringing artists together.

I remember that Jaimie could not have done this had she not been such a fine poet herself; her book Anyjar is brilliant. Read and remember it. From Black Radish books.

I remember the book as a love song and an elegy stitched together. I remember there was a poem about cock slinging.

I remember when Jaimie gave MIA away, a great act of generosity. She was becoming my mentor. I will remember how truly she deserved this award for her brilliance and her ability to bring writers together.

 

Meditation: On the Elegy as a Political Act

Brandon Shimoda was in St. Louis yesterday for the one year anniversary of Michael Brown's death. He posted three photographs of the memorial constructed on Canfield Drive in Ferguson at the place where Brown died and his body was left for hours. (See @brandonshimoda). His photographs are close-ups; unless you read the caption, you don't know where you are on this earth. What you see are legions of stuffed animals. I don't know my Disney or Muppets iconography at all well, but it's their characters I see piled on top of one another, a plastic red fire truck placed neatly in front of them. Here is the first of his photos:

And here is a second photograph:

 

Michael Brown was 18 years old. He had just graduated from high school and was headed to community college when he was killed violently. What does it mean that his memorial is covered by stuffed animals, drowning in the symbolism of "the happiest place on earth" and other American fantasy lands? Is this a memorial to Michael Brown's childhood? To ours? Does it cover over (literally) the stain of American adulthood, with its worship of guns and violence? Does the memorial take us from the day of his death to an eternal childhood, where we feel safe, if only in our imaginations? Is that a cheap form of transcendence, like some versions of the Romantic lyric beheld from the vantage point of 2015? The toys represent an odd form of happiness, one that seems quite at odds with an actual place in Ferguson, MO. In an email, Brandon tells me that many of the stuffed animals bear the name of someone killed by police. I can't handle the symbolism. There is nothing more powerless than a stuffed animal, nothing more childlike. A 12-year old was arrested this evening in St. Louis. She said she was scared. Now we're told, via Twitter, that she's 18. But she's very small, standing in her handcuffs, and the cops are large.


This is only the latest iteration of the Michael Brown memorial, which over the past year has been taken away, run over, desecrated, then re-made. Shimoda's is a particular angle on the latest memorial, a claustrophobic one that does not give its place away. Another view, posted on August 4, comes from a Google Earth capture. Because Google Earth changes so often, such "captures" are necessary to preserve visual histories. I found this photograph via a discussion by Seph Rodney. Originally posted by Jessica Lussenhop, it looks like this:

This odd angle, which makes the roads and parking lot resemble nothing so much as a swastika, tells us the street name (because that is what's important on Google Earth) and shows us a ribbon running down the center of Canfield, along with a memorial pile under a tree next to the road, beside a parking lot, where a man with white shoes stands facing the street (I think). There are three people under the tree at the tree memorial who look toward the man in white shoes. We see them from above as tiny lines, not as human beings. Lussenhop insists in her tweet that the memorial "lives on." What does it mean to "live on" as a screen capture off the ever-changing Google Earth? This photograph seems more a memorial to the street, or even to Google Earth itself, than to Michael Brown. It has nothing to do with childhood, and like the photographs at closer range, seems to have nothing to do with Michael Brown himself. In some sense, these are memorials to the idea of memorials, how they occupy a landscape.



As I write this, I go to the St. Louis Post-Dispatch on-line. I read that paper often, at least during baseball season. It's the day after the first anniversary of Brown's death. A man was shot by under cover police last night in Ferguson. A state of emergency has been proclaimed. Cornel West sits in the front of the photograph of protesters in front of the Federal Building in St. Louis; a policeman stands, his back to the camera. People are getting arrested. The St. Louis County Executive states that, "The recent acts of violence will not be tolerated in a community that has worked so tirelessly over the last year to rebuild and become stronger," that, "The time and investment in Ferguson and Dellwood will not be destroyed by a few that wish to violate the rights of others." But these words don't align with the peaceful and silent protesters pictured to the left of the column where he is quoted. People are sitting, still as a memorial to the dead, on a sidewalk. They are not stuffed animals; they are adults whose faces radiate pain and stoicism. We see them around the fulsome back-side of a policeman who lacks a face, but carries plastic cuffs and other paraphernalia of physical restraint. Order must be maintained.



I recently participated in a project called Lament for the Dead (see lamentforthedead.org), organized by Carey Wallace. The website publishes a poem for everyone killed by police this summer, as well as for every policeman killed. The page is black with white print, like a gravestone or like the Vietnam Memorial in Washington, DC. Each poet is given a few hours to compose a poem based on a news report about the death. Many of the dead lack names, either at first, or even later on. They are the unknown soldiers in this crazy war. My young man (22) came first without a name. When I googled him (Google Death, not Earth), he turned into Charles Bertram of El Paso, Texas, killed by police outside a sports bar after allegedly drawing a weapon. His mother was not told why he was shot; his "baby mom" was threatened by detectives (his mother said). If she did not cooperate, they would destroy his property. It all comes down to property, doesn't it? Or the sick kind of propriety that America demands of its citizens. The poem itself offered a kind of property (he was my subject) and propriety (there was a form to fill in, that of the elegy). The elegy is a form of order, too, a genre of restraint. The power of Allen Ginsburg's "Kaddish" is its breaking of restraint, decorum, its emotional violence. And its use of detail.



The elegy has more than one lens, a short one and a long one, a panoramic and a microscopic one. We see the little red truck and we see the larger geometry of the street. Pull back farther and you see the circumstances that made the tragedy possible, even inevitable in our historical context. But the elegies I teach, those that are in some way canonical, are less about details than about general principles. The athlete who died young, memorialized by A.E. Housman, ran down a street, but we don't know its name; the subject of Hart Crane's "Praise for an Urn" was like Pierrot and Gargantua, but was not either of them. If the elegy is an engine of meaning, then the engine tends to run very hot and quick, from material body to substanceless stars. But a book like Eleni Sikelianos's The Book of Jon, written mostly in prose, concentrates on detail, the materials in her late father's possession when he died of a drug overdose in a hotel room. The details tend at first to turn my students off. Cigarettes, combs, not much more than that. The details are pathetic and, until you point out their pathos, they do not lend themselves to an empathetic reading. He was a drug abuser, after all, and if the War on Drugs did anything, it was to make drug abusers seem like lesser souls.


The poems on the Lament for the Dead website oscillate between detail (they are usually based on a single news report) and the desire to memorialize an entire life. How can a writer move from a violent detail (he had knife, he was shot in the back, there was blood on the street) back into the life of someone he or she never knew? The writers are in no way associated even with the place in which the event occurred (I was struck by the fact that a woman who lives in Rock Island, Illinois wrote about an unnamed man killed by police in Kahului on Maui, for example). They tend not to share the race or gender or age of the victims. So, poets reach for validation in a lyrical gesture toward meaning. A lot of the meaning emerges from not-knowing. Elizabeth Robinson: "That you had a name but left your name behind / where we cannot find it." Rachel Kubie: "but he was unnamed, / wandering at night with his shining youth / with foreign currency in his pocket / threats and greetings on his lips / and the river of night to cross"[.] The elegy mourns that not-knowing, even as it tries to arrive at the life at the point it was lost. It's a difficult feeling, this trying to know, but having no way to know, or indeed to feel. Elegists always have the mystery of death in front of them, but the mystery of life takes over many of these poems.


So what is the meaning of the mystery, when there is so little evidence of a life? Housman had a type (the athlete, who did athletic things); Shelley had his friend Keats (who died, in part, of a bad review, or so we're told); Sikelianos had her father, whom she had not known well. But at least she had photographs, a few stray memories, people to interview. At least can be very small, but at least there's that. Many of the elegies here, like Norman Fischer's, repeat the "facts" of the case, then open out, as the soul enters the world unbodied. Others use whatever facts could be found, as in Erika Staiti's elegy for Christian Taylor, an unarmed black man (19) killed at a car dealership in Texas a few days ago. Of Taylor she writes: "Young and unarmed and black and / a homicide—your cause of death: / gunshot wounds to the neck, chest and abdomen." Of his killer: "Miller had no previous police experience, / no disciplinary history or commendations." She includes this detail in a poem that looks very much like poem, running in tercets down the page until we arrive at haunting words by the dead man himself: “I don’t wanna die / too younggggg.” Jaimie Gusman Nagle writes about a man who suffered mental illness, Michael Westrich, 59, of Beaverton, Oregon. She begins by imagining Westrich's thoughts on that day:

Big Mike
might have thought of his time

in Santa Barbara, how the fog
made his breath feel less

like a wound, and more
like a bloodless river

and then leaps into the personal pronoun: "I’ve also felt buried alive." The I belongs maybe to the poet, certainly to a character in her poem. This I possesses the empathy of shared anomie, a difficult sharing. Hers is one of the few poems that makes so direct a link between the victim and poet or speaker. The word "might" is the hinge on which this poem opens. He might have thought something; someone who calls herself I might have felt something similar. It's a frail hinge, probably lacking a couple of screws, but there's light on the other side of that door.


The elegies on this website tend toward the conventional, by which I mean they are poems that lament the particular dead and try to find meaning in that death. They do not make direct political statements, unless to note that so many of these deaths occur in similar circumstances. And in passing. Empathy is a politics, yes, the primary politics to be found here. But there are no calls to the barricades, no calling out of the police, very few references to the American worship of guns. It's an oddly apolitical political place. Yet by way of accumulation, day after day after day of deaths, mostly at the hands of police, the reader cannot help but arrive, by way of inductive reasoning, at one conclusion only. Our society is sick. We kill each other at an alarming rate. The police kill black men and the mentally ill of all races out of proportion to anyone else. The website becomes a memorial of memorials, each poem piled on the last as if left on a dark street. If elegy comes inevitably of subtraction, the accretion of elegies makes of those subtractions a horrifying addition problem. The poems repeat and repeat and repeat. Such repetition is not in itself a political action, but drives us to realize its necessity. The details more than suggest an institution; they demand its dismantling.


Brandon Shimoda writes me to question the bringing together of the dead killed by police and the police killed in the line of duty. He wonders if there is not a mistaken equivalency here. If there is, I would say that it is a lyrical equivalency. We mourn the dead not for their morality, but for their being dead. If we believe in the precious human body of Buddhism, then all bodies should be mourned, because their existences have not come to an end. This is bad racial politics, but a good spiritual practice. And how do we reconcile that? With anger (justified, deep, destructive, and perhaps constructive) or with forgiveness (counter-intuitive, like that offered to the murderer in Charleston by his victims' survivors). Again, good politics or good spiritual practice? Is there a way to link them? I would say that the Lament for the Dead website has chosen the lyric's emphasis on the individual, but a possibility remains that in the addition of all these lyrics, a practical politics can arise. Such politics involves the dismantling of institutions, but also asks us to see each other as like each other. Some days, many days, that seems the most difficult act of all.


The Michael Brown memorial is one such act of addition and repetition. The memorial is not stable. It began with a line of roses and the tree, which was vandalized; it is now a pile of stuffed animals. There is, as yet, no name on Michael Brown's grave, just a piece of plywood with "RIP MB" scrawled across it. The point of these elegies might be that there is no name because there are so many. There are (and I cringe to write this) the celebrity dead whose stories we have heard over and again on the television. But most of the dead are anonymous, mostly because we haven't heard their stories. Just iterations and re-iterations of a particular kind of horror that is intimately tied to American history. I can imagine so many black men, escaped from slavery, hunted down and then returned to slavery or shot dead. I can imagine those men lynched. I can see Charles Bertram, 22, shot and killed on Dyer Ave. in El Paso Texas, and I can also see (on television) his mother saying that no one at the hospital would tell her why he was shot. History is a terrible echo chamber. We need to act from within its trauma, and without grieving we are paralyzed.


Here is my poem, revised a bit, using the form of the Craigslist "missed connections" sites:

Craigslist Missed Connection

(in memorium. Charles Bertram)

You were the guy in parentheses: “There was a foot pursuit and the officer followed (the man).” Your family could not be reached for comment, but the reporter's number is 546-6102. We might have met at the Players' bar near the strip mall downtown, but the newspaper photos are of a gas station off Dyer Road. There's yellow tape around the pumps, a dull silver car three or four rows down, and a lit-up cop cruiser in front of the ice machine (10 lbs. bags). What is the city over the mountains / Cracks and reforms and bursts in the violet air

You were the occupant of the car with the gun, or so the officer told reporters. On the police department website I read that, “the preservation of life [is] our sacred duty. Our value of human life set our priorities.” They are not releasing “any of that” right now. (Hence, more generally) an afterthought, an explanatory aside.

You lived near Fort Bliss, held by the Confederacy from 1861-1862, in the city that soon expects more military personnel and a bigger airfield. You were the guy in the city whose theater was recently refurbished (for $38 million) and whose new freeway heralds urban sprawl. Ringed by the flat horizon only You were the guy in a car who'd been in jail 18 times since 2011 for lacking a license, for driving under the influence, for having no insurance. You were 22 years old.

You were (the man) who collapsed near the sports bar and was pronounced dead. My son pronounces “dead” “did.” It was someone's deed, but not for car or house. No one would tell your mother at the hospital why you'd been shot. “The detective told my son's baby mom that if she did not cooperate, they were going to burn all of his property.” What did you have on you? That license, some photos, a few bucks, a can of beer, maybe the gun you're alleged to have fired?

You were the man whose sister asked God on TV to bless you and let you rest in peace, whose girlfriend it must have been standing next to your mother between the road and a high metal fence, their eyes walled with pain. What is that sound high in the air / Murmur of maternal lamentation

Jerusalem Athens Alexandria

Vienna London El Paso

All too real

Traci Blackmon, a UCC minister in St. Louis, writes on her facebook page this evening:

"I live in a place where federal buildings go on lock down when people come to report a national threat...county jails shut down to keep citizens out when there is no threat...and a county executive who does not have the authority to declare a state of emergency...does...and no one says a word.
This is my reality."

Notes:

Language from “The Waste Land” by T.S. Eliot, various news reports, the Oxford English Dictionary and websites, including Wikipedia.

Bio:

Susan M. Schultz is a poet professor who lives on O'ahu and runs Tinfish Press.

Is _Jack London is Dead_ a Community of Writers?

                                          [Flyer for the HCC event]

I drove home from Honolulu Community College wondering why I'd expressed such ambivalence when Eric Paul Shaffer, who'd organized an event for his English 201 (Introduction to Creative Writing) class expressed surprise that he felt community with other writers in Jack London is Dead: Euro-American Writing of Hawai`i (and some stories). Do we feel the same? he asked. "It's terrible, isn't it?" I began, sputtering about how, since founding Tinfish in 1995 I had tried to foster conversations between members of categories that I otherwise don't much like, how I had "succumbed" to the ethnic anthology in making this book. How I loved having the conversation with the students, most of whom are not white. These are feelings I expressed in the book's introduction and in my statement, mixed feelings (making me think perhaps Tom Gammarino's fictional place where feeling is illegal might not be all bad). But, after two fine readings and an extended conversation with Eric's students and the other writers at these events (Tyler McMahon and the writers on the flyer, above), some rethinking is in order.  Or, if not rethinking exactly, then recalibration. For, how are we to have these conversations if we haven't yet had the conversations with writers whose experiences (educational, ethnic, diasporic) are like your own? The logic of the ethnic anthology is becoming clearer to me, even as I still instinctively resist it and the very book I edited. The book is its own best defense against its editor, I suspect.

Monday's event was at Hawai`i Pacific University, and was organized by Tyler McMahon. Today's was at HCC in Kalihi, a working class concrete campus whose back parking lot was used by the makers of Lost to represent Iraq, complete with bombed out cars and Eric Paul Shaffer's part-Mexican brother-in-law, as an Iraqi. Eric's poem on the event gets at the layers of meaning and fakery in that film shoot.  "Disbelief is no longer willingly surrendered, but eagerly / and widely applied to horrendous events that overcome us," he writes in "On the Set of Lost: Dillingham Boulevard, Honolulu." "It looks so real on TV. Desert dust swirls around / my brother-in-law, the U.S. mail-carrier, an Iraqi-for-a-day. There must be / some truth in appearances, and whatever it is / must be what makes Hollywood a shrine and paves a sidewalk with stars."

[The parking lot at HCC that was made to look like war-time Iraq, with Tom Gammarino on the left and Eric Paul Shaffer on the right]


We local readers from Jack London is Dead have settled into a rhythm of sorts: one of us introduces the anthology, explains why Jack London is dead, holds forth on how contemporary white writers are working within a context more diverse and complicated than any dreamed of by Jack.  (That I am beginning to pity Jack should inspire me to read his work, now that I've proclaimed his death as a literary figure in Hawai`i. Maybe.) Then we do the following in alphabetical or reverse alphabetical order: Jaimie Gusman reads from her Shekinah poems, beginning with one called "Ejaculation," which is very much about a goddess creating the world from her own thighs (today I thought of it as being like the passage in "Song of Myself" where Whitman masturbates a world, except that in Jaimie's version it's a female deity); Evan Nagle reads flarf poems in utter deadpan, moving from the crazy to occasional lyrical passages that quickly flit away; Eric Paul Shaffer reads his "Lost" poem and also a poem about the `okina (we talked later today about punctuation as meaning); I read some memory cards, today making a link between adoption and my living in Hawai`i (a relationship of love, family, but not genealogical in the usual sense); Julia Wieting reads poems about animals that are actually about parts of speech; Tom Gammarino reads one of his two short stories in the book about Peter-or-whatever who lives in a place where feeling is illegal.  Poor Peter writes a poem, which is his downfall.  He must have snuck into the poetry anthology by writing a short story about a poem. I wish that Tyler had read from his short story on Monday, but he assured us he'd read at his campus just recently.

Eric's students had read the anthology because he gave them copies, so they quoted to us from some of our statements, knew what was at stake, and mostly--this was wonderful--had questions about being a writer.  When do you write?  How do you write? What do you write about? Some of the questions then led into the territory of whiteness, of living in a place where the central wound is colonialism, of thinking about how to write about Hawai`i in ways that might help to mend that wound. It was a good, a fruitful, conversation, for both what I had imagined for Tinfish when I founded it (conversations across cultures, experiences), and for what I had not (those conversations coming from a recognition that those of us who are white writers in Hawai`i have certain experiences that mold us as writers).

                                          [Eric's marvelous class]


I've heard from several readers ("readers are the most important people," said Eric's students, on cue) that the prose statements are the most compelling parts of the book. The more I hear the contributors read their poems, however, the more I believe that the poetry is what matters, even if readers need the context offered by the prose. "Why are you in the anthology?" Eric's students asked him, thinking he was not as "innovative" as other contributors. To which I would say that it's the diversity of forms and content that draws me back to the book, as well as I think I know it. I'd like to start thinking about ways in which poems are in conversation: Eric's poem about Lost with mine about an Iraq vet calling in airstrikes on Waikiki Beach (a story told me by Adam Aitken); Evan Nagle's flarf with Tom Gammarino's wickedly dark funny prose; Scott Abels's and Rob Wilson's poems about Waikiki; Jaimie Gusman's and Janna Plant's poems about the earth; Julia Wieting's and Endi Bogue Hartigan's poems ostensibly about animals and plants. Perhaps one day we can have a call and response reading, foregoing the alphabet and entering a more fluid ground of poems as conversation.

[Tyler McMahon at HPU, 3/18/13]
















                                   [The rest of the band at HCC, 3/20/13]

Launch of _Jack London is Dead: Euro-American Poetry of Hawai`i (and some stories)_

Fresh Cafe, Kakaako, February 18, 2013


After a brief introductory spiel by Tinfish Editor/me on why we've published an anthology of poetry by white authors, one I'm becoming all too accustomed to delivering, the poets (and one fiction) writer rose to read from their work. As Sonny Ganaden pointed out in Flux Magazine the other day, the poetry speaks for itself. The readers were Scott Abels, Margo Berdeshevsky, Tom Gammarino, Jaimie Gusman (who curates the MIA Series we participated in), Farris James (for her sister, Endi Bogue Hartigan), Evan Nagle, Janna Plant, Eric Paul Shaffer, and Julia Wieting. Some impressions follow:

Scott Abels read from his "New City" poems and from perhaps my favorite, "Dick Cheney Parade," which calls the former veep "A cheerleader / with no real heart." Of his new life in Waikiki, he writes, "In our starter home / impersonators // of Mark Twain / gain popularity." This is not so much memoir as cut-up, in the sense of cutting up, of humor. Abels's deadpan delivery is utterly appropriate to the poems. In a recent radio interview with Noe Tanigawa, Scott talked about how Hawai`i has made him think differently of sincerity; his poems do not always sound sincere in tone, but their content is. I'm not sure he read this section of his "Waikiki" series, but the lines about tourists are telling, "I thought your shirt / said Virginia / and it had a picture /of the island of O`ahu / but no / it's Virginia." I had never thought to check the map to see that Virginia does resemble O`ahu in shape, but I do remember my mother in her Alzheimer's confusing a Kailua Surf-Riders shirt for an Iowa one.

Margo Berdeshevsky flew to Hawai`i from Paris for the launch and a month-long visit to Maui, where she lived for 25 years and worked as a Poet in the Schools.  She began with "Pele's Dark Landing," a love poem about and, in many ways to, Pele, wrapped inside a poem about the speaker's own love. "There are gardens and there are not. / There is love and there is not. There are leaves and / there are not. But there is/was/ever . . . fire." She concluded by reading two paragraphs of her statement for the volume, about an incident of anti-haole racism, and then also about the "more equal" art of poetry.

M. Thomas Gammarino, aka Tom, read "The Culvert," a prose poetic piece set in a place where feeling has been outlawed (to me, it's a loose allegory of the Hawai`i the missionaries tried to make). Tom's work is characterized by wordplay that spins into plot, plot that devolves into play, but always an eye toward ideas, funny sincere ones. "Listen up. It was sometime in the twenty-teens when the town outlawed feeling. You could still do most things, but you weren't allowed to feel them anymore, expect in a muted way. Smelling other people's hair was strictly forbidden. They washed the town in Drano to burn out our olfactory sense, which came too close to the heart of things. The Artery leads away from the Heart." The piece ends with a possible revolution brewing inside the subversive culvert, but then all that's left is one character's memory and that's going too.

Jaimie Gusman lamented her place in the reading after Tom, but then began by reading a poem called "Ejaculation," so that ended that. In it, the Shekinah figure is resting in the mud and she is in prayer. She is creating a world for women out of the mud: "She spelled her name with the roots on the ground. And the earth screamed it for the women. The women began caressing the roots, their own shadows watching their bodies, then digging for their own plots." In which "plots" are many things, denoting life-lines, narratives, sex organs and, finally, death sites. Jaimie's new work, featured in the anthology, is a feminine epic that comes out of her recognition of her own cultural, literary Jewishness. Such are the pressures in Hawai`i, where people talk ethnicity and culture 24/7, that such work emerges from its relative newcomers.

Endi Bogue Hartigan's poem, "Devotion and Red Ginger," was read to us by her sister, Farris James.  In this poem human devotion to the red ginger that is not native results in its being cut: "The chorus / crescendoed / terrible beauty like / a machete clearing / all else, all else[.]"

Evan Nagle is perhaps Hawai`i's sole flarfist, a poetic movement I found myself professorizing about a bit for the benefit of Tom Gammarino, who should really know better! After some self-deprecation and self-disgust, which he termed Caucasian, Evan launched into, "HISTORY THINK SHE BIG," where the silliness of flarf devolves into some beautiful lines after we learn that the poet is driving down the H1 in a 2004 Honda Civic: "Self! / Ointment of all semblance! / I say I see me: / A bit of loose agency hovering / Over the serial procession of / Deceasements." There's something about that image of "loose agency hovering" that speaks volumes to me (though I could not remember the lines when I told Evan how much I liked them) about living here, the hover of it, so nearly Hopkinsian, though his Honda fills in for the older poets bird.

Janna Plant plays frequently with her name. Of course she's animal, not plant, but her poems are rooted in earth, in the cracks in sidewalks where plants emerge, in the keen observation of, for example, a dead horse by the river's edge: "Chestnut nostril widens, / minnows exploring new tunnels. // The drumming structure silenced, / broke-free from halter of heart. // Un-lace those bootstraps, / observe the text: / opening." Where the decaying flesh of horse finds its witness, the text opens up to a "[released] category." Like Nagle's hovering, the decaying horse is not one or the other thing, but a state of moving. Likewise, Janna's map poem, "The Course of the Blood in the West," is an autobiography/map/portrait of the body--not the mind, but the body--which leads me to think that what is unusual in Janna's work is the way she presents ideas, images, stories, as bodies, staying with her metaphor until it becomes utterly literal, earthy.

Eric Paul Shaffer read several poems, one of them a complicated piece about whales, how they are endangered, how the poet watches them with sympathy, how the poet knows that as a human being he would have killed them. "We are everywhere," he writes, of people, of those who kill such animals. What begins as a quiet contemplative poem about observing whales ends bitterly: "may we kill ourselves before we kill the last of them." Like W.S. Merwin writing about the way English took away Hawaiian even as Keats was writing his beautiful poems, Shaffer writes of how he would have been a killer of whales who "[wrote] poetry in the warm golden light of oil / rendered from their sacred, slaughtered flesh."



Julia Wieting caught us up when we were feeling poetry fatigue. She placed her closed book on the side table and recited "Getting found: A Pacific Prufrock," which opens "...And indeed, there will be time / to wonder and sit, to practice / a craft of appropriation." Wow. She takes the Master Sergeant of appropriation, Mr. Eliot, and re-appropriates him in the context of an island to which she has moved ("Shall I say, I have gone to this island, / escaped the Middle's wide, its far flung sky?")  Where Prufrock's poem is utterly personal ("shall I do this, shall I do that?"), Wieting's engages larger issues of identity. "Years after, we still do not ask, 'What are we?'" I'm fascinated by how many young poets have changed Eliot to their own purposes, from Ryan Oishi to Gizelle Gajelonia to Julia Wieting.  I never would have guessed, when I moved here, that Eliot would maintain such a presence in these islands, and that he would have been so generous in his post-colonial post-humous ruminations.


We were sorry to be missing the following writers: Diana Aehegma, Jim Chapson, Shantel Grace, Anne Kennedy, Tyler McMahon, Rob Wilson and Meg Withers. Keep your eyes out for their work, too.

[Members of the Caucasian Cat Circle at a pre-launch party. The Tinfish cat is Tortilla.]

Story on Jack London is Dead by Noe Tanigawa, Hawai`i Public Radio

The quotes from this piece come from the longer podcast that I posted a few days back.  She interviewed me, Scott Abels, and Jaimie Gusman, then came up with this story, which aired on February 16, 2013.

Noe Tanigawa interviews writers from _Jack London is Dead: Euro-American Poetry of Hawai`i (and some stories)_

You can find the audio here.  She speaks first with Scott Abels, and then with me and Jaimie Gusman. She's a lovely person who asks tough questions.  And I now know that I say "I think" too much.

Back to Tinfish Press! M.I.A. Reading, February 9, 2011

In recent weeks, this blog has been hijacked by its "owner" into a space for writing exclusively about dementia. I will now return it to its original purpose, as a record of Tinfish Press's recent activities.

This past Wednesday, the MIA reading at the Mercury Bar in Chinatown, curated by Jaimie Gusman, featured readers from the new Hawai`i Review (#73 ably edited by Donovan Colleps) and Tinfish issues. Before the reading, the Tinfish board met outside Govindaji's vegetarian restaurant, where the editor could eat nearly nothing due to her allergies, for a conversation on this past year's activities. More on that and some future plans later on in the post.

In many ways, this reading was typical of Hawai`i readings: the subjects-matter included land, colonialism, language suppression (and rediscovery), land, food, local landmarks, ethnic identity positions, land, food, cultural tensions. All those things, in other words, that seem mostly to lack at the huge readings at MLA and AWP. Many of the writers combined their dishes into what exotic Europeans call a potpourri:

Craig Santos Perez wrote about Guam by way of canned meat, devoting one poem to Vienna sausages and another to corned beef. But the "indigenous food practice poems," as he called them wryly, got at issues of colonialism (who brought the sausages anyway?), family (who cooked the corned beef anyway?), and language (who named the shit anyway?). Tiare Picard got at words themselves, and beneath the words their sounds, as she did brilliantly in Tinfish 18.5.




Jade Sunouchi's prose piece, set in Mexico, got at a tension familiar to Hawai`i residents between tourists and local vendors. She threw a pinch of gender and a dash of class into her lyrical prose. Amalia Bueno wrote about teen-pregnancy by using names of local establishments in Waipahu.


Jaimie Gusman read an elegy for her Aunt Rose from a marvelous series of poems called the Anyjar Series. She followed that with a romp through one woman's love life. Monica Lee read a very funny story on male/female non-communication (the man and the woman are thinking the same thoughts, but prove unwilling to share them with each other, until their relationship becomes one of boring sameness). Joe Tsujimoto went next with his own poem about food and the sexes delivered in the gravelly New York voice that never ceases to surprise this listener.

This was the last reading at the familiar Mercury Bar venue, which has done well by its readers, but has grown louder and less hospitable to them and their listeners. On to Fresh Cafe as of next month!



[This photo does not present an editorial comment on the reading, as it preceded the event; it's Radhika with Gaye Chan doing their Stinky & Smelly routine.]

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And now for some future plans, an email I sent to Tinfish friends this morning:

OK, enough rest already [this refers to the sabbatical that the editor and her press are currently enjoying].

Tinfish Press is preparing to launch a new chapbook series. It will be very retro, simple, cheap, small print runs (100), sent for small donations (aka for free) to people on mailing lists yet to be established. We will try to do a bunch of them fairly quickly, perhaps one a month for a time. Eric Butler has kindly agreed to be the designer; he lives in Hawai`i, has worked in publishing and in making zines for quite some time. I trust he'll come up with compelling designs appropriate to the inexpensive format. You can find out a bit more about him here: http://www.manta.com/c/mvt3jc4/eric-butler-book-design

One of the benefits of this series is that the chaps can be very short in length. So poets and writers who do not have heaps of work already on their desks can have their poems circulated in this way. Writers with something to say who don't require great length can make a point quickly. I think back on something Ron Silliman said once, that when he publishes in a large journal, he never hears from readers. When he publishes with small mags of just a few pages, he gets a lot of responses.

As ever, our focus will be on experimental poetry from the Pacific region. Short manifestos or proses are also welcome. I'm asking you to consider sending work but--especially if Tinfish has published you recently--I ask that you recommend poets to us. Be our eyes and ears for good material. Feel free to contact me if you have any questions or suggestions. We're open to work by students of whatever age (children, high schoolers, college students, and the rest of us life-long learners). The work can be political, personal, or any combination.

We're looking for 5-20 pages of work, preferably 8-15.

We have no idea how long this project will last. But that's half the fun of it. Let's get more work out there!

I'm sending this call to those of you considered long term "friends of Tinfish." But feel free to spread the circle.

aloha, Susan

PS Alain Cressan--many thanks for the inspiration! Je te remercie pour les beaux livres d'Ink!

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Also look in the near future for the non-winners of our No Contest, not judged by our non-judge, Craig Santos Perez. The first volume in the No Contest series of two books will be by Jai Arun Ravine. The poetry in this book will cross more boundaries than I knew existed!

Report from the academic front-line

Semesters are forces of discombobulation, competing force fields of teaching, meetings, more meetings, soccer practice pick-ups, reports and write-ups, grading . . . so the blog threatens to implode from the sheer energy of scatter. So, some notes from the front:

--Foundations of Creative Writing, 625D, is intended to get incoming graduate students to think about writing. It's a poetics course. Last week we started from Plato's Republic and moved forward through Sir P. Sidney, P.B. Shelley, Laura (Riding) Jackson, and Charles Bernstein. I wish I'd been in Adam Aitken's section of the course, because he knows about Shelley. In mine, we lingered over Riding's attack on writing poetry; I framed it as a discussion of professionalism, apt because incoming M.A.s are beginning their own journey into the workplace (a chimera in this economy). Do we write to publish, to get jobs? If so, what does that do to our writing? Or do we write to look for some truth outside of the marketplaces of wages and competing ideas? Do we dress up (I was wrapped in a blue fitted sheet, which substituted for a toga)? Or do we peel off the layers, render ourselves unmarketable, and call it a day?


A subset of these unanswerables is the one about defending what we do to those in power who don't answer to inherent value, but only to the bottom line. One student, who works in politics, suggested we argue to the Speaker of Hawai`i's House, Calvin Say (what a good name he has!) for new positions in creative writing. What struck me, as we came up with our arguments, is that there is always a leap of faith. Yes, students are less literate than they once were, but how does a new hire in creative writing (someone with a big name, say) help us to make them into readers and writers? Don't we need more low-paid composition instructors for that purpose? Yes, thinking creatively is a good thing, but how does one translate the writing of poetry into a "useful" technical skill? (I love how "useful" includes such things as the invention of video games, which sell better than do poems.) If we make the argument on Say's terms, we fall into the market driven economy. More students write fiction, therefore we need a fiction writer. But who needs fiction, when our problems are so real?! If we make the argument on Shelley's terms, we pose a threat to Say, because we, too, are legislators, albeit unacknowledged. It's a no win situation. Which may be why Riding threw in the verbal towel. But we are stubborn. (I waved signs for Neil Abercrombie on Friday; he is running for governor on a strong pro-education platform.)

--English 100A: a lively class of students who are driven, responsible, considerate, and--on some level hard to define--scared to death. Scared of failure, mostly, of bad grades, of authorities who will not judge them well. Question: how to teach them the value of failure? Another institutional problem: inside the structure of grades and judgment and especially within the larger structure of a terrible economy, how to say (it's easy for me to say!) that the best thing you might do for your writing is to compose an astounding failure that stretches you, a compositional yoga position that hurts like hell, but limbers up the muscles later on?

--This past week's department meeting was one of the best in years; we sat in a large circle and hammered out a couple of big issues, some detailed language, and left the room more or less in one piece. But finding myself defining "mixed genre" to members of a group of English professors who think of it as someone who writes poetry and fiction, felt frustrating (as all these f's testify). Anyone read William Carlos Williams's Spring and All (1923!!!!). Theresa Hak Kyung Cha's Dictee (1980)? Now part of the thrust of the question was strategic; it came from a colleague who knows better, but doesn't want to truck in such things. But others?

--As this semester's Director of Creative Writing, there are some perks in the form of quirky notes and phone calls. The first came as a telephone call from a local Vietnamese man who runs a hair salon. He wants to work with a ghost-writer (that's where we come in) on a novel about the afterlife of Lady Diana. And then there was the hand-penciled letter from a prisoner in Ohio who wants to correspond with students in an effort to improve his writing. The letter was a full two pages long, and included his prisoner number, lest someone want to look him up. It all sounded fine until he got to repeating that he only wants to correspond with "ladies."

--I've finished three sections of a new series of Memory Cards, each 10 poem set working off phrases and lines by a poet whose work is meditative, open. Lissa Wolsak, Norman Fischer, Wallace Stevens. In the midst of thinking again through and about memory, I opened Al Filreis's blog this morning and found this. We had been talking through Charles Bernstein's "A Defence of Poetry" in my Foundations of CW class this past week, with its amazing last lines, from Karl Kraus about how the closer you look at a word the stranger it appears to you. After struggling to read the poem out loud (it's written in "typos"), those unscrambled words at the end seem themselves to come out of an alien place. To see my own words on Filreis's website, from an interview with Leonard Schwartz about Dementia Blog, is itself an exercise in memorying. My recollection of my words comes in reading them back as they were spoken into a telephone a year or so ago. I would not know them otherwise. Rememory, as Toni Morrison calls it. The urban dictionary weighs in here.

--Having asked my graduate students to write their manifestos about literature, an exercise developed with Adam Aitken, I asked them to render them anti-absorptive, and for a purpose. One student rewrote hers in columns, as if in Chinese; another wrote in jejemon, a Filipino "dialect" based on mangled English, texting, and Pokemon monsters (in that order?). I can't recall what their purposes were--it was 8:45 p.m. and all of us exhausted--but the results were exhilarating.

--Finally, a shout-out to Jaimie Gusman, a Ph.D. student at UHM, who has a fresh poem on Ink Node, here. Some of my favorite lines here:

The last glint of humility
among the bank-lines of humanity.

I borrow your eyes from time to time
and from time to time I can see myself

--PS of sorts: I have given up the St. Louis Cardinals for the season (after over 40 years of fandom), since Tony LaRussa and Albert Pujols attended Glenn Beck's (and Sarah Palin's) rally on the Mall. As Joe Harrington put it on Facebook, they refuse to rally otherwise. I called the Cardinals' front office to express my displeasure, only a momentary stay against confusion on my part. If I am not a Cardinals fan, then who am I?

Art and Poetry at The Contemporary Museum, Honolulu, April 18, 2010

[I cannot turn this program right-side up, so in the spirit of a piece Elizabeth Berdann sent me on email the other day (I said, "it's fine, but it's sideways," and she responded, "I wanted it that way"), I am presenting it as a rectangle. Turn your head and/or your screen, the better to read it.]


At 2 p.m. on Sunday, April 18, 2010, in the city of Honolulu in the neighborhood of Makiki, poets gathered to read work they had written in response to the Words Off the Wall exhibition at the Museum. I wrote an earlier post about the pre-write tour of the exhibition organized by Quala-Lynn Young. The post-write tour included "teams" of poets who had written on particular artists, chosen because of their concern for the body.


Team Fay Ku included Christina Low, Jade Sunouchi (seen above with the artist), Julie Tanji, Amalia Bueno, and No`u Revilla.




Team Elizabeth Berdann consisted of Neomary Soriano-Calderon (a 9th grader at Mililani High School), Susan M. Schultz, Jaimie Gusman, and Rachel Wolf. Allison Schulnik's team was made up of Tayla Yogi, another 9th grader, and Evan Nagle, a post-MFA newcomer to Hawai`i, by way of his girlfriend, Jaimie Gusman. Judy Fox provoked a poem from Jeff Walt, a Goddard MFA discovered at the reception desk of the museum, where he volunteers once a week.

I was unable to take down full accounts of the poems, but registered some single lines:

--Christina Low, from "Mer": "Make me a stone that sinks to the bottom of the sea"; later she said she saw the painting, "Alarmed Mermaid," once and then worked off her memory of it.

--Jade Sunouchi, from "Birdfeed": "wings partitioned into fingers," a fine image for metamorphosis. Here is the painting she and Julie and Amalia wrote about.

--Julie Tanji, who carried Japanese characters with her and held them up, yelled, "I am not invisible!"

--Amalia Bueno used Prometheus as her mythological reference for the Fay Ku painting that three poets chose to write on;

--No`u Revilla performed her poem about four young women braiding a horse's mane, largely from memory, and repeated the refrain, "I am your mother." She said she wrote about this painting because the one young woman seemed not to fit, belong, seemed outside the emotional energy of the poem. That was the woman on whom she focused her care.

--Jaimie Gusman wrote about Elizabeth Berdann's wall of 31 tongues, considering the tongues to be a map. Her speaker put the tongues on, over her head. As usual, Jaimie's work featured quick cuts between pathos and silliness, lyric and faux advertising copy.

--Rachel Wolf wrote about Berdann's "Ghost," the painting of an old person upside down on cloth. Among her zingers was the phrase "chamois shaman."

--Tayla Yogi, one of Steve Schick's 9th graders from Mililani, wrote a poem of various pronouns, "she/her/me/myself/I" to go along with the melting hobo of Allison Schulnik's video. Everyone was impressed by how bravely she and Neomary performed their poems.

--Evan Nagle took that video and made text values for the pixels, found phrases through webcrawler, employed a spam/poetic filter, and ended up with phrases like "save a puppy from the pound or something." His was the least representative of the poems--it was not in the least so--but an eye opener for the audience.

The reading was followed by a reception that featured cheese sticks, hunks of cheese, and fruit, mingling, and much photography before we dispersed and I, for one, returned to the Sunday "night" baseball game between the Cardinals and the Mets, which the Cardinals won.



[from left to right: Jeff Walt, Quala-Lynn Young, Jaimie Gusman, Evan Nagle, Christina Low, Rachel Wolf, Julie Tanji, No`u Revilla, Susan M. Schultz, Jade Sunouchi, Amalia Bueno, Neomary Soriano-Calderon; not in the picture because she had a softball game to play in was Tayla Yogi)

Many thanks to Quala-Lynn Young for organizing the event and to Shantel Grace for writing about it, over and again.

M.I.A. reading series & harvest time

[Jade Sunouchi, Tom Gammarino, Ken Quilantang]


Yesterday was the second reading in the M.I.A. series at the Mercury Bar in Chinatown, organized by Ph.D. student/poet Jaimie Gusman. I'll digress first, then move on to the heart of the matter. When I asked the bar owner if owning a bar was like small press work, he said, yes, in both cases you need to define your mission. His was to set up a bar under the aegis of Mercury (a mercurial place), where the music was not too loud, and there are no televisions. So, while the Chinatown alleyway in which it sits is none too inviting, the bar itself is. The first reading in November had featured readings by Ph.D. student, Ranjan Adiga, Jerrold Shiroma, a poet new to Honolulu, Joseph Cardinale, a Ph.D. fiction writer, whose novel is forthcoming from Fiction Collective 2, and myself. Oh, and then there was the performative homage to Michael Jackson by a former flight attendant and current student in fiber at UHM, who somehow managed to make the aftermath of 9/11 funny.
Last night featured work by Anjoli Roy, an M.A. student in fiction and non-, Ken Quilantang, M.A. fiction writer, Jade Sunouchi, M.A. poet, and Tom Gammarino, whose new book, Big in Japan is just out. The readings were punctuated by the work of an improv duo (In Your Face Improv, or IYFI) that worked off prompts like "sheep" and "run" in hysterical fashion. [Photo: INFI, with Chris Riel, foreground, who MC'ed the event]

Two things strike me as significant about this reading series. The first is that there is an audience for writing in Hawai`i that is not exclusively local or indigenous. You could call this "graduate student writing," if you wished. But there has always been writing in Hawai`i that cannot be classified in the usual ways--those that fit the magazines and/or the academies here. This series confirms that power of that kind of writing, even as it sometimes mixes it in with local writing (Ken Quilantang's writing is very much of this place, but benefits from being contextualized in this way). The second is that the range of writing going on in the graduate program is wide. Ken Quilantang's work is gritty, sometimes violent (last night's story contained passages about a young man beating his father with a baseball bat, for example), while Tom Gammarino is making more postmodern moves, using a character named "Brain" to pirouette brainily through concerns like love, religion, and cross cultural desire. Joseph Cardinale's story last month about a boy who falls from a tree and then speaks from the dead oddly complements Jade Sunouchi's novella in poetic prose that features a dream sequence in the underworld of San Miguel de Allende, Mexico. In that dream sequence, the protagonist, Aster, confronts the wrath of Malinche (who slept with Cortez) over the incursion of tourists to Mexico. Ranjan Adiga's story was about barely suppressed homosexual desire in contemporary Nepal; Anjoli Roy's non-fiction piece about a farflung relationship and the rats who interrupted it (literal rats). Jerrold Shiroma presented slides of his Shakespeare sonnet project, in which he takes the texts of sonnets and makes them, by "photoshopping them like hell" into stunning visuals. And mine on dementia seemed out of place in a bar, except that so many of my conversations these days are about demented parents (and grandparents) that all imagined boundaries of decorum appear artificial.

Good news, then, that Jaimie has gotten some funding for the series. It's a wonderful addition to Honolulu's literary scene.

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Yesterday was also harvest day, the last day of my Literature & Creative Writing (273) and Form & Theory of Poetry (410) classes, the day final projects were due. Here is a photograph of my new collection of chapbooks. First the pile of chaps on my living room floor, then some details, taken by Allegra Wilson, who is hoping to reconstruct her book based on photos she took yesterday.

New Reading Series!

The brains behind this new series mostly belong to Jaimie Gusman, a new Ph.D. student at UHM. The brawn will be reading once a month from now on. The organizers plan to present readers from Hawai`i and from elsewhere. Along with me, the first readers will be Ranjan Adiga and Joseph Cardinale, both Ph.D. fiction writers at UHM, Jerrold Shiroma of durationpress.com, who has recently moved to O`ahu, and Robert Reed, the mystery entrant. I'm a bit worried about the metaphorical field, (MIAs, Van Gogh and his ear, and kamikazes), but we will surely prevail, peacefully.

[Click the image, as ever, to make it bigger.]