January 14, 2018.
Playwrights are poets who get lonely. – Joy Gregory
I’ve written poetry as long as I can remember writing. And early on, I never saw a distinction between poetry-as-genre and the poetry found in a text of any genre. I intuitively understood poetry as a way to communicate something that transcends the specific, by means of the specific.
Yes, I’m aware that my definition is by no means universal. And I’m not trying to convince anyone to agree with me. I’m aware of the debate between the timely vs. timeless aspects of art, the universal vs. the specific. I respect that debate. But I’m not participating.
Neither am I precious about poetry. I don’t say that it is something I have to do, or I would die. I wouldn’t die. Though I suppose I’d be even more messed up than I am.
I aways return to it – even after having sworn if off more than a few times. I can’t avoid it – writing or reading whatever genre I stumble into.
When I ask myself what a poetry community might mean to me, I’m at a loss. When I was a child, we moved so frequently, and carried with us so many secrets, I found companionship in books. Dr. Seuss and A.A. Milne. Judy Bloom and Stephen King. Dickinson and Millay. It was a diverse community. Millay wrote plays. Helen Hayes wrote a memoir-cum-anthology-cum-love letter to the dead authors who wrote for her.
There was Shakespeare.
It’s always been about writing to the dead, I think. Even when addressing the living, I looked over their shoulder, with the faith that the people who spoke to me – I could speak back to, just as clearly. Eventually. With practice. Even if I’d landed on the wrong planet, at the wrong time to fit in. It is a comforting delusion that is difficult to walk away from.
I am the imaginative version of Emilie Dickinson – shouting from the top of the stairs. Genuinely happy for any company, desperately suspicious. Scared.
I am a Norwegian citizen. But not a Norwegian writer. I am not an American writer. A few years ago, I was excited when an American colleague wrote to tell me one of her students wrote about one of poems in her term paper. It turned out she mentioned the poem to criticise my use of formalist terminology.
What is a writing community? Am I looking for the salon, or the table where the powerful people sit and write each other into the history books? Am I looking for commiserators, or competitors by which to gauge my progress and commitment?
Am I listening with an ear to conform or with the intention to empathise and learn? Learning to what end? Why do I need/want to be seen, and why do I fear it?
I question my own decision to return to playwrighting. All this time, all these years in a chosen self-exile, comfortably writing to the dead.
And what do I want from the living? Is it that, now, at mid-life (when so little about death is theoretical) I need someone to breathe life into the words while I’m still here?
Am I losing faith?
Am I lonely?
I’ve been considering the spring reboot of This Choice.
I’ve been thinking about what I wanted when I started, what I found fulfilling, and what I didn’t.
I’d wanted conversations. And I did have some really lovely conversations. (One left me in tears!) But when I did get involved in the discussion, I would edit it out – concerned that any listener would think the project was about self-promotion.
As a result, my original idea of podcast “conversations” quickly evolved into straight interviews, in which people talked about themselves, promoted their work. When people asked me my opinion or about my experience, I’d say, “Oh, but we are talking about you” and I’d edit it out.
Several times, when saying goodbye, people thanked me for the “service” I was doing for the community.
Funny that a project I began as a way to reach out and find a sense of kinship became even more isolating for me as a writer.
Something happened lying in the hospital bed this summer. I learned it is important that I am honest with myself about how I spend my time – and why.
I want to try again.
It was never my intension to provide “a service to the community”. As crappy as that sounds – I just wanted to talk with writers I admired.
So. I am the imaginative Emilie Dickinson.
I just might suck it up–and come
down the stairs to meet you-
This Choice is Who You Are has been my mantra these past years: a mantra for becoming the person I want to be. I believe that choosing to live with the attention that poetry demands is a good start.
In the podcasts, I look to other artists to learn from their experiences.
I ask poets how their work with poetry influences the choices they make in their daily lives, and how these, in turn, affect their sense of self and their relationships.
How are they using the experience of art to shape The Good Life for themselves?
Amy MacLennan’s work has been published in Cimarron Review, Connotation Press, Folio, Hayden’s Ferry Review, Linebreak, Poet’s Market, River Styx, South Dakota Review, Spillway, The Pedestal Magazine, and Wisconsin Review. She sits on the board of Chautauqua Poets & Writers in Ashland, OR. Amy is the Editor of Cascadia Review, the Managing Editor of The Cortland Review, and a poetry editor for Bone Bouquet. She has published two chapbooks: Weathering (Uttered Chaos Press, 2012), and The Fragile Day (Spire Press, 2011). She was featured in July, 2016, on The Writer’s Almanac with Garrison Keillor and in September, 2016, on Verse Daily. Her full-length collection, The Body, A Tree, was published by MoonPath Press in April, 2016.
Saturday, April 8, 2017.
Inland Poetry Prowl, Ellensburg, WA
KSKQ radio interview, Ashland, OR
Studio Series, Stonehenge Studios, Portland, OR
First Draft Writers’ Series, Pendleton Center for the Arts, Pendleton, OR
Original music and artwork by Karl R. Powell.
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