If you happen to be on Pender Island, come on out in the evening and listen to some bee poetry!
WOMEN SUSTAIN LIFE
Saturday October 28, 2pm and 7:30pm
InterUrban Gallery, 1 E. Hastings, entrance on Carrall
Admission is Free
“In Visible Colours presents Water is Life. Women Sustain Life. All women have a nurturing spirit, sustain and contribute to life itself, to community work, care work and land-stewardship work. In Visible Colours celebrates the creativity and creations of self-identifying women.
2:00pm – 4:00pm Women community writers share self-written words or the words of other women who have inspired them, with writers Renee Saklikar and Ghia Aweida.
7:30pm – 9:30pm Women leaders within the community share self-written words or words of other women who have inspired them. With Constance Barnes, Dalannah Gail Bowen, Sharon Brass, Judy Graves, Morgane Oger.”
Join Heidi Greco and I for Amelia Earhart’s 120th Birthday Celebration – there will be a reading, a mini-writing workshop, and also cake!
The final part of an essay that came about through a recent BC Library Association Conference panel I participated in with Aislinn Hunter, Valerie Patrick, and Meghan Savage, titled “Reading for Change: how reading leads to action”:
Selected, a continuum—
Do you think reading is more influential for social change than other means?
RSS: Not really. It’s about that old labour slogan, “Bread and Roses”, and it’s about praxis: mindful action. Reading and action, like faith and action, love and action, seem to need to be in a symbiotic relationship. That being said, as a poet, I’m really ambivalent about activism. For the poet in me seems to need vast amount of inaction, brooding, alone time, balanced with dancing and walking and eating. Loving. Too much thinking makes us Hamlet like. Shakespeare had it all figured out… example: it took me five years to write children of air india, my book length sequence about the bombing of air india flight 182 and during that time I immersed myself in language, in ghost retrieval, in The Archive that is the saga of trauma and I stopped moving my body. Horrible. Now, I have to give the body its due, every day. Am reading much slower and much less, but have never been more aware of global/ecological influences, portents, the grass outside my rental in east Vancouver is already brown and shriveled where not watered.
What global issues are central to your writing experiences?
RSS: Ecology, migration/justice, violence, textures, the object in the archive, love, the body: individual and societal, economic/social. Also absence, longing, silence. All those letters, unsent. A glance on a train, seen from Platform (A), receding—
All these are for me encased in a continuing idea of perimeter, what is let in and what is kept out: from the garden of Eden to our own modern cities: these demarcations.
What is your intent or what do you want to accomplish through writing about global issues?
RSS: Really contrarian. It’s such a good question: poetry that doesn’t engage with the world, no matter how gorgeously crafted, doesn’t hold my attention for very long. Example, I had the great privilege of judging poetry prizes last year. So many of the wonderful poetry books ultimately didn’t meet my short list b/c they could have been written at any time in the last 100 years. There was literally nothing of the outside world allowed into the lovely lines and words. No sense of the urgency of now.
I don’t think of either the issues or of intent or “accomplishment” when writing. It is about staying open, doing the work of language and world building, word by word, sentence or line by line. Following cadence, listening for it. It both intentional, as in a daily practice and mindfulness, and it is non causal, non directive. It is negative capability, as Keats would say. It is about observation as witness.
How can libraries encourage reading for change? What are your libraries currently doing?
RSS: By surviving into the new global order as a free, tax supported public space. Story: the Surrey poem about a pay phone.
What are your libraries currently doing?
RSS: As the new Surrey poet Laureate, my Admiration for Surrey libraries: encourages community action: brings community into the library: café, internet, outreach program, places to sit.
What role does literary aesthetics play in politics and change?
RSS: different ways of seeing, observation as witness; form and language as a praxis: see my Narita poem. To be continued. Side-thought: about the provisional. Call Ray Hsu.
What books have personally inspired you on the topics of politics or global change?
Documents and articles: Arts of the Contact Zone, Mary Louise Pratt. Can the subaltern speak, Gayatri Spivak. A wilfulness archive, Sara Ahmed. Senator Diane Weinstein’s monumental report to the US Congress, unclassified in 2014: Senate Select Commiteee on Intelligence, Committee Study of the CIA’s Detention and Interrogation Program..
“the present is a time within us” / The dart of my story stings / listening: Fetty Wap (1738), Wake Up—
For the writers, how do you choose how wide to create the picture?
RSS: The work chooses itself: the demand is to be open, pay attention to the needs of the work: image, line, rhythm, rhyme, story, pulse, cadence: what does each thing demand, when and where and why…I’m drawn to long poems: series, sequences, sets, suites, gaps, silences, margins, perimeter, what is inside/outside. So notions of macro/micro constantly emerging, have to negotiate, calibrate. The personal is the political. The margins are at the centre.
How narrow or wide is your lens, the net that you cast when writing about a topic?
RSS: Always, the two sided, slant focus, that moment of the personal, say, a man, standing in the shadow of a theatre, about to kiss his lover. Behind the lovers, a woman dances alone, with her nomad device: Fetty Wap, singing, Wake Up. Behind the wall, partition, border, those long lines of people— Compared to what, Roberta Flack—
All the senses engaged, minute focus, time stands still, moves Janus Pointed, past/future, into, and of, the vast, the epic, the disaster sci-fi world where everything happens.
Read the other parts to Reading for Change: the document as Witness:
Part Two of an essay that came about through a recent BC Library Association Conference panel I participated in with Aislinn Hunter, Valerie Patrick, and Meghan Savage, titled “Reading for Change: how reading leads to action”:
- Part 1: Discovery
Part Two : The Information
incantation: reading for change: the document as witness (a repetition)
- table of contents, Charles Reznikoff, Holocaust
- first lines, Narita: hymnal-acro-nym, children of air india, un/authorized exhibits and interjections (Nightwood Editions, 2013)
- extemporaneous & textual: selected fragments: Senate Select Committee on intelligence, UNCLASSIFIED: Committee Study of the Central Intelligence Agency’s Detention and Interrogation Program, foreward by Senate Select Committee on Intelligence Chairman Dianne Feinstein, Findings and Conclusions, Executive Summary, Declassified Revisions, December 3, 2014.
- extemporaneous & textual: selected fragments Parole Board of Canada, Fact Sheet, Statutory Release and the Parole Board of Canada, PDF (296 Kb); “Inderjit Singh Reyat, Air india bomb-maker, gets out 30 years later, Terry Milewski, CBC News, posted: Jan 27, 2016 2:00 AM PT Last Updated: Jan 27, 2016 2:00AM
- inscription, “The Present is a time within us”: fourth season, in the year of the reign 2014” from THOT-J-BAP, a long poem
in the Archive of memory: the text as material
- Charles Reznikoff, Holocaust and Testimony;
- Robert Fisk; Samantha Powers;
- Adam Rothschild, King Leopold’s Ghost;
- M. Nourbese Philip’s Zong.
- Snow leaks/Wikipedia;
- Rebecca Schneider, Performing Remains: Art and war in the times of theatrical reenactment
- Diane Purvey/John Belshaw, Private Grief/Public Mourning: The rise of the roadside shrine in B.C
- Adonis, Chronique des Branches, epigraph, beginning, “Since John the Baptist, each of us carries our head cut on a platter, waiting for rebirth” (my translation).
- Austerlitz: W.G. Sebald ~ (finally)
- Twelve Years a Slave: Solomon Northup.
- Four Quartets: T.S. Eliot (Little Gidding): again and again.
- Documents and articles: Arts of the Contact Zone, Mary Louise Pratt. Can the subaltern speak, Gayatri Spivak. A wilfulness archive, Sara Ahmed.
The dart of my story stings: from M.NorbeSe Philip, Zong!
reading language as material,
experience, as gesture.
Cadence, a call to action.
Stillness/movement. That twenty foot table, I dream of it.
: — (his) music, (his) arrangement of gesture, (his) image.
My words, my dead—their voices, the singers/musicians.
Always we are in rehearsal.
the long slow impact–
of reading slant, non-directional
praxis: against description, against the literal, except when necessary, by any means necessary ~ about invention, imagination, witness, observation. And so, begin: Narita, hymnal-acronym
Part Three: Selected, a continuum—
The following multi-part essay came about through a recent BC Library Association Conference panel I participated in with Aislinn Hunter, Valerie Patrick, and Meghan Savage, titled “Reading for Change: how reading leads to action”:
Reading for change: well, that is a challenge to a poet, who sits, head in hands, contemplating tradition, particularly in literary poetics since the last century, that poetry doesn’t do anything; nor should it be directive, causal, or didactic. And so comes on, in equal measure, that contrary view, certainly in the Americas and elsewhere, about the poetry of witness but it is in tension with the former. As a poet, I’m always in correspondence between the two schools of thought. As well, I’m influenced by Irish artists with whom I collaborated on an adaptation of my book children of air india for the stage: music, singers, visuals, staging, 17 piece ensemble: reflections on the artistic practices and disciplines of these collaborators, leads me to reading the online essays of artists such as Niamh McCann, interviewed about her show, “Just Left of Copernicus”: the idea of making as a form of thinking—
So if making is a form of thinking, then reading can be a form of action-making, as well. As a poet my sense is that the cause-and-effect chain of reading and action implanted/implied in the idea of reading for change might well be tenuous, ephemeral, gestural, shadowy, impossible to pin down, non-directional, existing, perhaps forever in a state of negative capability: uncertain when that moment occurs when what I read, ingest, see, observe, transmutes into making, or writing, or marching, or loving, or protesting. And that it is vital that this tenuous, possibly very slow, very haphazard waywardness be allowed to foment, germinate, and this brings me, inevitably, to the importance of libraries, because if my idea is at least open for discussion, that reading for change, may well be the most tenuous of processes, then the necessity to re-visit, reflect, re-turn, becomes crucial. If well-funded, or at least, even funded, if accessible to every day people, that books remain on shelves, that I might revisit the same book over and over, sharing it with others, then my wayward path to action might one day come to fruition and who knows, who would ever want to reductively predict, that reading-action might connect with social change. I think this idea of mine might well pose an immense challenge for the world in which we live: the time it takes, deep slow long time, to make things, that matter…