The world (whirls) are spinning April 2022

This morning a Black man in some sort of uniform wearing a gas mask pulled out a canister that temporary blinded people and then shot those within a subway car going into the 36th Street Station in Brooklyn.

The sun is bright this day.  The air is crisp.

My neighbors and my landlord are doing repairs on buildings up and down Macon Street.  The planet is spinning–there is so much rage.  War in the West.  War in the East.  War on almost every continent on our globe.  Wars in ourselves.

So how best to remember that like my neighbors hammering, good and useful things happen at the same time as catastrophes.  Here’s a brief riposte.

So it is good to just say that I am grateful for all who celebrated with me this past Friday, April 8 when I was honored by The Poetry Project at its gala celebrating the Project’s 55th year–the other honoree was Rene Ricard who departed in 2014 after an often tumultuous but poetry driven life.   Vincent Katz and Arden Wohl were the Gala’s co-chairs and Kyle Dacuyan, the Project’s ED set a generous and convivial tone to the evening. Here are a few notes from my part as honoree:

Jason Kao Hwang played a beautiful violin solo and it was definitely my part of the program. Lorraine O’Grady was filmed talking about my work in A Lucent Fire, and she read “The Perfect Lipstick”‘ a 3 minute reel about me included Cornelius Eady, Alice Notley, Maureen Owen, Guillermo F. Castro,  and Charlotte Carter; and then Tyehimba Jess basically testified on my behalf and read “Love Come and Go”.
It took just about everything in me to not cry. And then it was me and yes, i was on point.  I found a poem I wrote back in 1974-75 as a way to show just how long I’ve been associated with the Project and then spoke about the importance of the Project and I ended the speech by reading “Seraphim” with the last line “And unto joy” which seems utterly apt.  We see such horror, terror, rage, and we write about them-if there is one thing we can try and do as artists and writers and humans on this planet is remind ourselves that joy abides as well.
I am thankful to have friends and family who encourage me.  I know that readers when they find my books are pleased to have done so.  Over the past 10 years, there has been a growing look at my work and greater interest.  I have lived long enough to gather some applause.  I know that this is not always the case.  Good friends joined me at Table 5: Willie Perdomo, Charlotte Carter and Marie Brown–Black and Brown literati.  We are here and we are working and know the world is spinning, but writers are always about dancing on the whirls.

Summer zooms along.

Amina Claudine Meyers

Vision Fest salute to Amina Claudine Myers

I am so pleased to have performed on the night of performances and tributes to the amazing musician and composer, Amina Claudine Myers.  Amina has been making important music for 4 decades–piano works, works for the organ and choral music.  On July 23, her artistry was on full display at Pioneer Works in Red Hook, in Brooklyn.  The Vision Festival 25th year was a powerful and poignant one–it included an elegaic program for the now late Milfred Graves.   But the second night belong to Amina, glorious singers, and yours truly, the poet.  Amina and I grew up in Arkansas–so it felt very homegirl.  Plus Amina’s relatives flew to NYC for this honor. There are many women making music in jazz and improvisational music, but there aren’t as many as there should be, just saying Amina was one of the few women musicians accepted into the AACM back in the day and she’s done much to make the scene more inclusive.  Progress is often too damn slow.  But progress has been made. I was glad to be up in front of the audience and Jason Hwang, with whom I’ve done several programs was there too.  Amina received great applause, many bouquets and the adoration of her fans.

ZOOMED

Teaching from home

This has been a busy summer of readings, workshops ZOOM ZOOM ZOOM: Gemini Ink, HWVC, Hurston-Wright ZOOM ZOOM ZOOM  so reading before actual human beings in a large, fairly open space–Pioneer Works is huge was a mixed blessing.  And with the Delta variant & whatever other mutating viruses arrive, I see ZOOM ZOOM ZOOM in the near and possibly far future.

Whatever and however we can, we must continue to make ceremony.  We must celebrate the creativity and staying power of artists, elders and younger ones.  We must work hard to be as good as we can be because so much that surrounds us is nasty, violent, evil (see Texas Republicans as an example).   Summer with its heat, rains, hurricanes, tornadoes is almost gone. And I must say I am pleased to be at The Virginia Center for the Creative Arts with a fully funded Richard S. and Julia Louise Reynolds Poetry Fellowship. First week here I read with a wonderful prose writer–we really had a blast.

What can we do to keep going to doing bad times, we do our work and with style. Caitlyn Myer and I did at VCCA.

Caitlyn and Patricia post reading

Caitlyn and I read poetry and prose at VCCA

It’s been a while but my energy is getting louder

My apartment is a swirl of piles: clothes, toiletries, documents—the stuff you need when you take a big trip.  And I am about to take a big trip, to Virginia for 4 months.   I have been appointed the Louis D. Rubin, Jr. Writer-in-Residence at Hollins University.  Dara Weir, whom I met at Hollins when I was a visiting poet; Natasha Tretheway, whose father taught there and other poetic luminaries are past appointees.  This is a big deal and it comes on top of many expected and unexpected professional achievements since 2014-15.  I am getting used to being a 4 decades overnight success.

Of course, these opportunities do not come helter-skelter. I’ve been published as a poet since my early 20s and have worked to become the best poet I can be and yes I am still growing as a poet and thinker and activist, and as I have grown,  the opportunities have come.  I am glad I stayed the course.

And that is is something I hope that many of us do as we are daily assaulted with lies particularly from the political right –you know the people who create Middle East Peace Plans that don’t exactly include all of the people who would have to make it work; the people who are now making legal immigration more difficult; the people who claim they can’t bake a cake for same sex couples because it’s against their religion (there’s no such prohibition in the Bible, there’s no Cake commandant.  And everyone is tired because the briber in chief constantly tweets stupid, mean and occasionally important stuff.  It really is hard to live in a morally  corrosive time and have like a desire for truth, beauty and justice. But hey, think of it as being against the mainstream which is corrupt.  The Right is running all but the House of Representatives (thank you Nancy Pelosi) and a few major institutions that think liberal and democracy are good things.  So we poets and artists have a very important role to play outside that mainstream.  And we ought to play it loud and louder.

Over the past two weeks, I went to 2 memorials (there could have been 3, but I could only do 2)-Jan. 19 for Kwame Shaw, whom I may have met in passing while hanging out in the experiemental jazz world of the 80s–I know his adopted daughter Klare and so I went for her and her mother, his ex-wife.  The event at St. Mark’s Church was all about music and remembrances.  Henry Threadgill, Amina Myers and during the repast, David Murray made us all understand why for Shaw, Jazz was a religion.  Then on January 26, what seemed like the entire downtown art world came out for John Giorno’s Memorial.  An elegant and beautifully staged event from the rose petals on the sanctuary stage to the perfect video loop and the musical offerings by Meredith Monk, Michael Stipe, Patti Smith and Lenny Kaye.  Linda Yablonsky, Penny Arcade, Lynne Tillman, Bob Holman were a few of the writers who read from Giorno’s memoirs.  The Black activist Jazz freak and the gay Buddhist poet had this in common: a powerful desire to make a difference in the world and the energy and ideas to make that difference happen. Shaw brought the powerful music of the AACM and other Black creative musicians to a larger audience as a way to build up the foundation of Black intellectual acuity.  Giorno worked tirelessly to bring gay eroticism into the mainstream, to allow poetry to examine his sexuality and explorations. Both were activists, serious activists–Shaw organized for SNCC, open doors for Blacks in the media, created JazzTracks and Giorno started a fund in support of the first victims of HIVAIDs–he literally saved lives or allowed those dying a measure of dignity.  He was a serious practioner of Buddhism.  Both men left behind unlikely and loving partners.  The memorial I could not make it to was Steve Dalachinsky who like his best friend and frequent nemesis Steve Cannon came to symbolized bohemian New York. and from what a year turned into a huge carnival of poetry, anecdote, music and cheer.  These men all were bohemians in NYC.  A New York that is quickly slipping away under the huge condos and corporate logos of these corrosive times. These men all lived LOUD lives and well we need to start matching that largeness with our own.  June Jordan would so agree with me.

St. Mark's Sanctuary, Giorno Memorial

Sanctuary, St. Mark’s Church, Giorno Memorial

So I will take my NYC energy South and do my best to do good work and maybe just maybe bring some ideas and provocations to bear in and out of the classroom.  Because when poets stop telling the truth, we all suffer.  I am a poet and I don’t like suffering.

https://www.hollins.edu/academics/majors-minors/english-creative-writing-major/louis-d-rubin-jr-writer-in-residence/

 

 

I AM AN AMERICAN POET –American Poets Congress launches

Dog Tags by Jane Hirshfield on tree in “the Jungle”

Heard on NPR an Edward Hirsch’s poem read by Shaquille O’Neill that Kwame Alexander discusses early in the morning.  The poem is about basketball and life and of course O’Neill would love it.  It is old school, the whole setup.  Populist Black American poet talkes POETRY with slightly bewildered, slightly awe-struck NPR hostesss.  50 years ago it could have been  Langston Hughes chatting somebody up and say Mickey Mantle intoning Carl Sandburg.  Media representation of poetry, American poetry continues this odd desire to make all things plain and clear as if the masses can’t look up a work on their dictionary.com app.  Glad that O’Neill and many athletes read and write poetry. But you don’t have to be a celebrity to add value to poetry. You have to care about language, culture and the work required to make even the simplest seeming poems profound.

On Sunday, April 29, American Poets Congress presented 15 poets reading work at Poets House  where Lee Briccetti noted that poets are the unelected legislators of the world, and in which each of us said our names and then I AM AN AMERICAN POET.  The poets intoning are Amanda Deutch, Anne Waldman, Cecilia Vicuna, Cynthia Kraman, David Henderson,  Edwin Torres, Erica Hunt, James Sherry, Michael Broder, Patricia Spears Jones, Pierre Joris, Purvi Shah, Tai Allen, Tan Lin and Vincent Katz.  James Sherry, Vincent Katz and I co-curated this and what a line up.

Co-curators Poets House 4-29-18

Co-cuarators I am an American Poet reading at Poets House, 4-29-18

It was our way of standing on a ground that feels like our home and not the one that is promoted out of the damaged and dangerous minds of party in political power.  Poets, what can we do?

We write.  We think.  We ask questions.  We answer them, but not often.  Some questions remain unanswerable.  But the questions keep us searching for that answer  say to ending racism, ending injustice, promoting fairness and honesty, offering succor and candor and compassion.  When do we do these things, how do we, what are the words.  Working with two white men on this project was challenging to them and to me.  Working with men who are use to directing ordering guiding even as they seek to be progressive and collaborative is challenging.  But you know what I learned to deal with the challenges –if we are to begin to build another way of looking towards the future then working with and challenging privilege is going to be very important.  Dismissing people because of their lack of political purity or their unenlightened attitudes means having to find others to replace them who may or may not be better.  You don’t change unless you’re put in a situation where change has to take place or you don’t progress.  Americans do not want to be seen as mean spirited, hateful, killer cops on every corner, but until Americans remove the killer cops on every corner, and stop backing mean-spirited and hateful policies, well that is what America is to most of the world right now.

But poets know this and poets write about language, how it is used, abused, trampled over, and made to build up mean spirited, hateful and poisonous policies that ultimately will make us poorer, sicker, our air and water toxic, our understanding of safety, security and defense enablers of militaristic fantasies.  Yup, this is a bad era for Americans, for the world given the drift to the right.

Mural-San Antonio

But poets being poets keep language alive.  We keep making those questions, whether we are bards or beats or Black Arts devotees, we know that every phrase that damage, the psyche, scars the culture must be overmatched with language that heals, that thrills that poses a fresh way of seeing and being.

POETS ARE THE BEST, but I would say that because I am a poet and this is the last day of National Poetry Month. And it is great to know that whether you’re Black White, HIV negative or positive, Asian, Latinx, Native,  queer, gender nonconforming, lover of animals or only lover of flowers or you speak  5 languages or only one-if you still work language to find the truth there in, I SALUTE YOU.  Oh and we can write about basketball, drone warfare, police brutality, love affairs, sleepy Sundays, capitalism, poverty, music, tea, the genome, etc.  If there are words, there is poetry.

The city joyful. They city traditional. The city holding on

La Casita LCOD

La Casita, a happy little girl.

 

 

 

 

 

Grace Note

There is a little girl happy at La Casita

See her compose her dance as the band

Launches a jibaro tune from Old San Juan

Watch her smile rise and her little legs

Loop before the stage’s apron.  She’s

The grace note, the sweet dream of

Manny Vega’s phantasmagorical temple

To community: the laughter, the dominoes

The courting couples, the elders resting

The garden fertile with peppers, squash

And greens from around the globe.

–Patricia Spears Jones

I wrote this poem after performing at La Casita, the annual summer celebration of community, poetry, music and dance resulting from Manny Vega (the artist) and his friend’s celebration of the gardens and meeting places that seemed to spontaneously develop in Puerto Rican neighborhoods throughout New York City–the little house, la casita was a place where the old and young could talk and sing and play dominoes and bond.  Each year the curators pull together poets and musicians and performers to present work and this year I had the honor of reading in Hearst Plaza at Lincoln Center.  And that little girl who danced her 2-3 year old girl’s dance represented for all the audience. She is a reminder that there is joy in this city; that children are loved; that artists make new and important work; that the sun shines for the artists on a day when rain was threatened.  I was not well enough to hear all of the performers, but I left as Persian music (including poems by Rumi) was being performed by Haleh.  It comes from a great tradition as did the Puerto Rican music the little girl so loved and its spirits helps me, all of us hold on.

Band performing La Casita

Haleh-Persians singing Rumi, et al

Item 65 poem and image

Sometimes you take the plunge when there is no water

here the divers-three divers on a board rise up out of sand

then fall into a blue day, made bluer by the cleansing

winds from the Caribbean.  We are witness to the falling

to the divers 3 in the sands of Coney Island.  John Ahearn

bids us greetings and farewells, sunsets and sunsets.

Sometimes you take the plunge when the water is not near.

Poem by Patricia Spears Jones–art by John Ahearn

Atmosphere by Coney Island,  July 2016

divers by John Ahearn, Coney Island

divers by John Ahearn, Coney Island

The day after May Day thank you Jacob Lawrence with event link!

03311520130501152026a03301519020330151954a If I could say that someone waved a magic wand around me, I would say it is because of Jacob Lawrence, an important artist whose work continues to refresh the imagination to this day.  I first saw half of the Migrations Series in the 1970s at the Philllips Collection in D.C.  I think because of Richard J. (Rick) Powell, who was then a artist/scholar/curator kind of guy.  I was stunned.  These little paintings told stories about the South and the very real reasons that Black people left-had to leave.  The next time I saw the panels was at the Whitney I think along with other series, The Builders, etc.  Again, the stories in colors vivid and bold lines–the generosity towards Black folks, the pride of Black folks, the folk of Black folks–his painting allowed the narrative to sing through.

So when Elizabeth Alexander  (she’s the very tall imposing diva next to moi) asked me to create a poem in response to the Series, I was both excited and terrified.  How to do justice to this work?  How not imitate in words what he had already done in paint?  How to add to the discourse on the Black Migration?  How.  Last August when I was the Virginia Center for the Creative Arts, I re-looked at each of the panels and realized that Panel 57 was what I returned to.  She’s the only single female figure in the entire series.  She’s wearing white.  There’s a cross in the picture.  I thought of my cousin Hassie, who was head Usher at the Baptist church she attended.  I thought of the aunts who came down from Chicago and Detroit looking fly.  I thought of the harsh beauty of the south and the hard heartedness of southern white leadership.  And then I realize that the best way into the poem was through scent.  If you get the catalog you can read “Lave”.  If you attend the exhibition, up till September 7, you can hear me and the other poems read our work in one of exhibition room.   You can hear great music in other rooms (I am in a picture with the great opera singer, Kevin Maynard)  On May 1, May Day, International Worker’s Day, we read at the Museum of Modern Art.

Hopefully, this link will take to what was one of my proudest moments as a poet and a Black woman who has lived long enough to know the harsh beauty remains in the South as does menace towards Black people, poor people–but I also know that the struggles have moved North, have taken a more complicated hard heartedness.  But like our ancestors, we keep moving and when needed like the laundress, we find work, we do the work, we stand on whatever ground we can.

Again, I thank Elizabeth Alexander.  Leah Dickerman, Sarah Kennedy, Jennifer Harris and a great crew at MOMA; the film studio guys, the really nice guards, the wait staff for any and all dinners, the whole sense of conviviality.  Because ultimately, Lawrence shows how Black people embrace life in all of its complications from loving to loss; from brutality to struggles for justice.  We really do keep on keeping on.  And if you cannot embrace that simple thought you are starved of humanity.  Praises to the Ancestors.  Praises to the poets.

The reading was live streamed on youtube, here is the link. https://www.youtube.com/watch?v=pdPZ5Wag9BM#action=share

 

La vida de la poet

One of the things about writing poems is to take risk or to use unlikely sources.  On my birthday I share this poem selected by The AshberyHomeSchool organized by Adam Fitzgerald and Emily Skillings.  Many years ago, I took Thulani Davis to see Belle Du Jour for her birthday.  We felt oh so sophisticated.  That seems like a century ago and indeed it was in the last century of the last millennium. Years later I thought about the film, but also more about what is marriage since it has been on everyone’s mind-gay marriage; divorce rates; why get married; why men are happier married, etc. etc. etc.     I am not married, but probably would have made an interesting wife had I been married.  But who knows.  I do not.  But the film gave a look at how marriage represses women.  And the ways in which she “liberates”  or does not “liberate” herself is at the heart of the film.  Of course it’s a film by the great Spanish director Bunel and given his misogyny, the liberation focuses on her use of sex.  Of course women liberate ourselves in a range of ways and that is a good thing.   We need more liberty.  We need to think about what marriage or not marriage is.  We need to find language that allows our full selves to be claimed by our full selves.  As a poet who is living her life as best she can, I know that it is not easy to live one’s full life.  But I urged each of us to do so as best we can.

At MOMA, with Jacob Lawrence catalog, January 2015

At MOMA, with Jacob Lawrence catalog, January 2015

http://ashberyhomeschool.org/gallery/patricia-spears-jones/