Learning by Going #5: “People Are Good”

At one of my partner sites for the Writing Home project, after a writing session I usually stop by the cubicle of the senior services  program staff person to say how things went. Usually I am full of stories, how wonderful people’s creativity and imagination and play and writing were, and how much fun we had, and how kind  and supportive people are with each other.

What kind of support an I talking about? Sometimes a good poem opens a door to people to write about their own experience…poems like “Vision Test”, by Patricia Kirkpatrick or Breathing, by “Mark O’Brien” can encourage people to get pretty deep pretty fast into their own medical or body experiences or traumas. Most of the bodies in a room full of people mostly 65 and older have been through some stuff. And I’ve seen a lot of moments where group participants seem to know how to provide just the right environment of empathy and support to people to move through the re-living an experience that writing can sometimes be.

Sometimes this support is between people who already know each other, as neighbors or from exercise class, or craft group. Sometimes the support is between people who started as strangers a week or two before when they walked into poetry group. They have become close through writing in community.

So one day, without going into a lot of detail (because we’ve agreed in our Writing Home sessions, that “What happens in poetry group stays in poetry group”)  I’m  describing a few  of the day’s lovely moments to Jeanne, who’s worked for decades at the same organization running the senior center activities and overseeing the Meals on Wheels program.

I believe in the power of writing sessions as a way of creating community, I tell her, but it’s one thing to say it and another to see it in action.

Jeanne smiles and stops me, “Naomi,” she says, “People are good.”

I have known Jeanne a long time and I know her to be wise and kind. And at first I shake my head to myself. I have a hard time making a blanket statement like this: “People are good.”

I grew up on the South Side of Chicago in a time when homicide rates exceeded even the ugly pitch of current headlines. By the time I left Chicago in the nineties I’d been burgled, robbed or assaulted 5 times; two of the incidents involved a gun or knife.

To put it another way, I grew up in a time and place where it was important to be nobody’s fool, where wariness and skepticism were important values. “People are good” was not imbibed in my baby bottle.

And then there is a certain amount of ugliness going on in the world around me.

So I do not lightly come to the idea of innate goodness.

But on a daily basis, through these little writing sessions at libraries and senior centers, I see people acting out of a positive e hunger for community for goodness, for ways to help each other.

~People bring each other cookies and treats.

~They offer to write for those whose hands don’t do it alone.

to read for those who cannot read.

~They listen.

~They hold each other’s pain.

~They managed on the day after the election to create a space of healing, without getting into politics. (how many times have I yearned for this same combination of compassion and restraint in social settings since then!)

These folks are not just writing wonderful poems; they might be teaching me how to live in the world.

So what do I say to the proposition: “People are good”

When Jeanne says this, I an silent. I don’t know. I’ve got my upbringing; I’ve got the news…I don’t always feel I am good. I have certainly seen other settings where poets don’t behave well; I wouldn’t say they are bad. but I don’t know if I would say they are good.

I can say:

People seem hungry for good.

I can say people have goodness in them and that poetry group, on a good day, can bring out that goodness. It’s one of the privileges of this work to watch it.

Learning by Going # 4: Lucille Clifton, won’t you celebrate with me

won’t you celebrate with me

Don’t be confused by my starting this with the first line of Clifton’s poem, which also stands as its title.

The poem’s final lines are

 

…come celebrate

with me that everyday

something has tried to kill me

and has failed.

 

You can find the full text on poets.org

 

I’m learning how important it is to make poetry and “everyday,” every day thing

The American Academy of Poets has a nice weekly feature called Teach This poem, geared toward K-12 classroom teachers. While the suggested lessons don’t usually fit my “classrooms” or my “students” who tend to be in their seventies and eighties and often have more to teach me than vice versa, I still enjoy the weekly poem selection.

On Monday, November 16, 2016, in honor of MLK Day, Teach This Poem featured Clifton’s “won’t you celebrate with me.”  I smiled to see it, it’s a poem I count as beloved.  I’m far from the only person to know it by heart, in whole or part. (And I keep finding more and more people who do, most recently David Mura and Margaret Hasse)

And another piece of my response was, yes, Clifton’s voice is a wonderful one to lift up in honor of the national holiday. And lifting up her voice should not just be a once-a-year thing.

 

I’m learning what I can do

I don’t say this from a position of having this all figured out. Clifton says she was

 

born in babylon

both nonwhite and woman

 

I wasn’t born in slavery, literally or figuratively. I’m a middle-class white woman, learning to live with the chronic condition of whiteness, constantly blundering around with my privilege and implicit bias. Like any chronic condition, sometimes I manage okay, other times I screw up. Only this is a chronic condition whose symptoms hurt others more than myself. I do the best I can, knowing I will often fail.

As a teaching artist/poet organizer I am still learning, struggling to figure out ways to bring my personal concerns for promoting equity with the realities of my classroom.

While I often fail, I care about undoing racism. I also care about undoing ageism. These two concerns sometimes bump up against each other in interesting ways in sessions. I am still figuring this out.

 

Poems keep teaching us. 

In the mean time, I know one thing I can do is bring in a variety of voices, and not just on MLK Day.

It’s a commitment that’s pretty easy and enjoyable to live. There are so many gorgeous and useful poems out there. Below is a very short sample of some poems I’ve used in my own teaching. For those of you that like or need to focus on craft in your teaching, in this short list you can find form example (pantoum and haiku), metaphor/comparison/figures of speech, image and writing from the senses, diction, and a whole lot more.

 

Natasha Trethewey, Incident

Rita Dove, Heart to Heart, Chocolate

Langston Hughes Suicide’s Note, Harlem

Lucille Clifton, lesson of the falling leaves, homage to my hips, I am accused of tending to the past

Donte Collins, what the dead know by heart

Ross Gay, A Small Needful Fact

 

Gratitude to Clifton, these poets and every other writer who, through their words, helps me stand for a moment in their experience, and understand it a little better.

Whoever you are, whoever you teach or work with, I hope you will fold them into your own session plans or reading or knowing by heart. And I’d love to hear about the voices you are lifting up. Every day.

Learning by Going, #1

“I learn by going where I have to go”  ~~Theodore Roethke

It’s taken me half a lifetime to figure it out, but I’ve always been an experiential learner. Much as I love words, it is difficult to learn to swim from reading a book.

Theodore Roethke’s poem “The Waking” is about a lot more than learning by living, but his line, “I learn by going where I have to go” could certainly be a motto for the work and mystery of learning.

I’ve been doing a lot of learning-by-going in recent years, taking a very non linear path from nonprofit consultant to therapy-based teaching artist.  Just a few points along the way: a masters in family therapy, vocational rehabilitation for vision loss (think learning to read and write braille at age 47), the wonderful accident of landing an internship in a senior high-rise and witnessing how poetry could sometimes be at least as healing as something called “therapy.

I’ve been so busy learning-by-going that it’s often hart to capture or reflect on all this learning and what its benefits might be.  But through Known by Heart, I’ve been given a chance to change that, at least for a while.

In 2015 the John S. and James L. Knight Foundation  (through  a Saint Paul Knight Arts Challenge grant) took a lovely leap of faith and funded Known by Heart Writing Home, a project to provide writing workshops to older adults and to explore the possibilities  of creativity as a key strategy for healthy aging.

The basic arc of the project is to immerse myself as a poet-organizer in the ecosystem of elders in my own community: the Creative Enterprise Zone, to develop writing and poetry experiences that grow out of what I learn, and to provide elders a way to find and share their voices.

And as part of the original request, I proposed keeping a learning journal to share some of the experiences and reflect on the process along the way.

So now that Known by Heart has met the Knight match  and is starting to offer workshops, there’s no time like the present to get started on the reflecting… (thank you funding and programming partners: Saint Anthony Park Community Foundation, Friends of the Saint Paul Public Library, Creative Enterprise Zone, and Keystone Community Services Senior Services Program)

Over the next few months as time allows— between workshops on memory, haiku, basic writing craft, and more—I’ll use this space for occasional reflections on what I’m learning and what I’m still puzzled or curious about.

A few questions I might look at:

What would it look like to offer a writing class for homebound people, delivered along with the daily hot meal delivered by Meals on Wheels volunteers?

What would it look like to provide meaningful poetry experiences for people in skilled nursing care who may be  beyond writing and perhaps even language expression?

Is Roethke’s poem :The Waking”  (“I wake to sleep and take my waking slow”) bout life death or both?

What’s the worst mistake I’ve ever made in teaching?

Is there a better title than teaching for this work?

What’s more important, the quality of the art-making or the quality of life benefits of art-making?

Are age-specific workshops the best way to serve the creative needs of elders?

How can sharing the creative work of talented elders change cultural perceptions about aging?

Can something as simple as a poetry class really have an impact on the course of our aging?

—Naomi

New online lit journal advances dialogue about mental health

A couple of my poems were recently published in Amygdala, a new online literary journal dedicated to changing the conversation about mental health in this country.

I really resonate with Amygdala and their commitment to literature that can make a difference.

Here’s a bit more about Amygdala, from their website:

“Amygdala’s goal is to build a sense of community by creating a platform for people to bring mental health issues into dialogue. We seek to achieve this through original works including: creative non-fiction, fiction, poetry, and art. We are looking for work that elucidates the wide range of issues and emotions mental health disorders evoke.….  It is our hope that Amygdala will de-stigmatize society’s view on mental health and create deeper recognition of the importance of mental health services.”

You can check out my poems (part of a series of poems I wrote when I was struggling with the Diagnostic and Statistical Manual of Mental Health Disorders as part of my masters in family therapy)  at:

The Blanket and the Rats

and

The Woman Who Can’t Leave The House

 

Concrete Memory — Sidewalk Poetry 2013

Kevin Walker's sidewalk poem

Kevin Walker’s sidewalk poem

Here’s a chance for your words to be remembered underfoot. March 15 is the deadline for submitting your short poem to Saint Paul’s Sidewalk Poetry project. Since 2008, Marcus Young and his colleagues at Public Art Saint Paul and the City of Saint Paul have been creating an evolving book of poems under our feet, with our sidewalks as the pages. If you live in Saint Paul, you can be part of it.

Click here for guidelines

http://www.publicartstpaul.com/sidewalks/

Good luck…

Memory and Humor

My parents, Rella and Barney Cohn, in the 1990s. Their wisecracks live on.

I think about my parents this time of year. My mother was born in October and my father died in November. They’ve both been gone years now and on rainy days like this, I think about the inadequacy of my own memory as a vessel for the entirety of their lives. But that sounds somber and serious and even as my memories of my parents erode, I remember my parents idosyncarcies and my  father and his sense of humor about the decay of his own memory. Here’s something I wrote about them when they were both still here…

 

What Remained

Ten years ago my father couldn’t tell a red light from a green one. We noticed when he asked the same question twice. How’s the weather up there? A minute later, How’s the weather? How’s the weather? Every visit, he was more shrunken, more confused. Stutter, silence, fall. The first time he disappeared in the Field Museum men’s room, for twenty minutes I fretted among plastic dinosaurs, at last asked a complete stranger to retrieve him, zipped, buttoned. Later on, we sought what remained—memories of a former colleague, Hail, hail the gang’s all here, his great strength of will, bald old snapping turtle gathering his endurance, waiting. Like the time my mother went on for twenty minutes about the origins of the name Zanvel. Natter, chat, a steady rain of knowledge. My father sat silent, dull,  but suddenly leaned forward, grinned, showed yellow teeth, said, I‘m worried about your mother’s memory.

 

Gratitude for a night to remember

 

 

 

 

 

 

 

Wednesday’s Known by Heart event at the Hamline library had a great turnout. Who know so many people cared about poetry and memory?

I loved hearing John Minczeski’s and Andrea Jenkins’ take on the question of the connections between poetry and memory; I loved learning from audience members that some of them get together as a group and memorize poems.

 Thanks to all the people who came to the event; to  John and Andrea for taking part in the Known by Heart experiment; to Zaraaawar Mistry of Dreamland Arts  for his good-humored  and amazing mentoring on ways to perform poems; to Jon Skaalen  of VSA Minnesota and Morgan Gracye Willow for ASL guidance;  to the Thursday night poets Ann McKnley, Lia Rivamonte, Barbara Davis, Sue Kunitz,  MaryAnn Franta Moenck,  and Alice Duggan; to the Studios of Key West; to Alayne Hopkins from the Friends,to John and the Hamline Midway librarian,  to Dona Schwartz and Karen Hering for project and other wisdom; and to Ray for being Ray.

 Thanks also to the Minnesota State Arts Board and The Friends of the St. Paul Public Libry and the Hamline Midway Library for helping make this event possible.

 Naomi Cohn  is a fiscal year 2011 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible in part by a grant from the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature and by a grant from the National Endowment for the Arts.

Why I won’t be presenting “What happens to a dream deferred”

The window of a church in the neighborhood where I grew up.

One of the poems I’ve memorized for the Known By Heart project is Langston Hughes’ Harlem, better known by its first line, What happens to a dream deferred? It’s a vivid, powerful poem; its strong images and cadences make it memorable. Easy to memorize and well worth sharing.

But Saturday night I had the opportunity to see Are You Now or Have You Ever Been….Carlyle Brown’s stunning and eloquent play about Langston Hughes appearing before Senator McCarthy’s Committee on Un-American Activities. Gavin Lawrence

offers an amazing performance as Langston Hughes. Brown’s script makes great use of poetry and history, wrapping them in a compelling dramatic package. And the topic is chillingly relevant to the present day.

The performances are equally outstanding. I couldn’t begin to bring the heft and nuance to Hughes’ lines that Gavin Lawrence does. So please go see this play.

And if you want to hear what stayed on my own list, please come see me and Andrea Jenkins and John Minczeski in the Known By Heart event  this Wednesday, May 9, at the Hamline Midway library. (Sponsored by the Friends of the St. Paul Public Library and made possible by  a grant from the Minnesota State Arts Board)