long day, short blog

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quite a day. class in the morning. spent an hour studying the theresa hak kyung cha papers at the berkeley art museum (there are 3 file cabinets full, but i only had time to read thru four binders, all relating to her film work). spent another hour in the sun talking with javier (he pointed to this interview he did, hilarious) (we are both students at berkeley, but he’s a few years ahead of me). an hour at the library to check out some books for a historiography paper i’m working on examining representations of ethnic experiences during world war II. and finally, a meeting as part of the pacific islander commission with the american indian graduate studies association as we have begun talks about an indigenous conference next year at cal. am dead tired. but here i am, digging for just a bit more energy for NaBlogWrMo.

speaking of javier, he has a great new post about citizenship. i have very different issues with citizenship, since i was born on guam i was born a u.s. citizen, even tho i didnt actually live in the u.s. until i was 15 years old. i always thot it was strange as a kid to have a u.s. passport having never been to the states. anyways, i wanted to add my own line to javier & leon’s collaboration. hey, maybe peeps here can add their own lines in the comments đŸ˜‰

“Not being born or living in the U.S. doesn’t not make you a citizen.”

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in the post below, nicholas doesnt tell us about his love-affairs. and gary says:

In other words, using collage–even if only playing around with it and never using it in finished art of some kind–can help illumate other aspects of making that an artist may not have focused on before.

i def agree. i’ve learned so much working with collage, particularly about stanzas and linebreaks…so much easier to experiment with form when i dont have to worry about the words.

gary also asks a question:

Craig, could you clarify what you mean by ethnic-avant? Do you mean avant-garde writers dealing with/foregrounding enthnicity in some way in their work?

tho i understand the limitations of this kind of classification, i do feel that labels such as ‘ethnic-avant’ help us conceptualize and articulate certain trends in literary history. by ‘ethnic-avant’ i mean ‘ethnic’ writers who racialize avant-garde techniques. i don’t mean ‘ethnic’ writers who employ avant-garde techniques. two very different trends in my opinion, each with their own values and limits.

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i’ll be reading here tomorrow!

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2 thoughts on “long day, short blog

  1. Speaking of collage, if someone hasn’t yet done a great collage poem using the citizenship oath, it’s probably about time for one. I wonder if Tracie Morris takes requests …

    That’s another value of collage: one can use it to foreground aspects of some pre-existing text (or speech) in a way often more potent than via paradoy.

    I was thinking this morning of a great collage project, Barbara Henning’s My Autobiography. It’s a long collage poem using one line or phrase from (I think) every book in her house, including other books of poetry, essays, history books, cookbooks, etc.

    She typically writes in a more or less autobiographical mode, so this usuage is particularly interesting. While she uses lines and phrases to tell her own story–albeit abstractly–what’s interesting for me is what this project has to say about an aspect of the experience of reading.

    B/c most of us who are writers or poets do a lot of reading–and what happens to all that material? We internalize it in some way, even if we don’t necessarily remember it. We take on others’ rhythms and vocabularies and energies as we read, and that of course makes some kind of mark on or within us.

    There’s a theory of dance that accounts for something like that happening as we watch the dancer, how the dancer’s movements are felt or “sympathized with” by us as we watch them. And, at least in some forms of dance, that’s what’s behind certain decisions as to what to do on stage.

    So Henning’s book is a kind of expression of that, from the audience p.o.v. What are the marks these books have left on her.

    It’s a different project from another, similar one, where people list a lot of their favorite or particularly relevant quotes. There, the internalization is usually argumentative, building an argument or position of some kind.

    In Barbara’s book, there’s more interaction between writer and reader going on. She’s internalizing these writerly marks, but also projecting her autobio into them. Is there a way in which we all do that to some extent while reading?

    Okay, I like popping-in-per-view, but I am also beginning to feel like a blog hog. I’ll shut up now and let others pop in in the future.

    Have a great reading, and thanks for pointing to Javier’s interview.

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