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, #2: You Don’t Even Need a Window

 

frame-viewfinder-2-img_3596

I organize a lot of Known by Heart/Writing Home poetry sessions around windows. There are tons of interesting poems that  feature windows (see a couple below). I also like to connect writing to other art forms, so sometimes we write responding to images of paintings —Many students respond especially to Vermeer, whose paintings are filled with windows, seen and implied.

I also like to introduce something painters call a view-finder.

A viewfinder  can be as simple as a piece of card stock with a rectangle cut in it. There are fancier adjustable versions. Simple or fancy, painters use a viewfinder to select what scene or slice of the world they choose to paint.

I like to introduce writing and poetry craft elements as things, that once we learn about them, give us more choices. For example, we may or may not want to rhyme or have lines with a certain number of stresses or syllables, but once we know what a line is, we have more choices about how we use them in a poem.

And the viewfinder is an object lesson in what to me is the first element of writing craft:

We get to choose what to write about.

And this is one of those places where art-making and wellness intersect. Making choices is a key aspect of art-making, of finding our unique voice, of honing our craft. And to bring in the mental health or therapy perspective, having a sense of choice and making choices even in difficult times or situations, is a key aspect of emotional well-being.

So back to the writing with a view-finder. When I do this activity, writers often choose to focus on something within the room where they are writing. But it’s very helpful to have a window. It gives writers more choices; for writers with mobility limitations, a window with a view is no small thing in maintaining a connection to the world outside.

I give participants each a viewfinder, show how you can include more or less of a scene by bringing the frame closer or farther away from your eye.

It’s such a treat to hear what an array of images or stories a group of writers write looking out the same window. Suddenly one scene prisms into the individual perspectives of the writers.

But I was a little dismayed recently when I walked into a room I hadn’t taught in before equipped with my stack of viewfinders to realize there were no windows that my writers could look out at. I had been in the space a few years before, new it was a basement, but remembered it had windows. But I had forgotten they were not clear glass. No view to the outside world and not much to inspire in the room: Stacks of chairs,  formica tables, drab carpet.

But I shouldn’t have worried. The group dug in with gusto and found thinks to write about I would never have imagined—persona poems from the perspectives of the furniture, internal monologues, a prose poem about a lost loved one.

So what did I learn that day? Trust your writers. If people have made the effort to show up, they will find a way to write something fresh, unique, compelling, from the heart. The writers remind me we have the power of choosing what to focus on in even the most unpromising setting.

That’s something that has a use way beyond that one poetry class.

A Couple of Window Poems:

Alicia Ostriker, “August Morning, Upper Broadway”

Natasha Trethewey, “Incident”

 

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

 

Finding the Artist in the Title “Teaching Artist”

CROCUS 2016

March in Minnesota is still winter. Yes, we’ve already hit 70 degrees. Yes, I took this crocus photo Tuesday. And yes, it got nailed with snow yesterday, Wednesday.

Not what Minnesota looks like at the moment, hallelujah...

But that’s okay with me. Winter is a great time to attend to the artist part of being a teaching artist.

Much of this winter I’ve been absorbed with writing poems and essays drawn from a journal I’ve been keeping in Braille. Grants from the lovely VSA Minnesota and Metropolitan Regional Arts Council Next Step Fund, made it possible for me to be the annoying person who seems to always have an out-of-office message on her email.

This is what I love about the label teaching artist. It demands of us that we pay attention to our own creative practice.

If I am never cozied up alone with my own work, then maybe I am still teaching, but I’m not a teaching artist. If I don’t feed my own work, how can I feed the work of others? If I don’t shape my own voice, how can I help others have their voices?

So thank you for your patience as I’ve been nested deep in the burrow of my own work, only apparently hibernating. As spring warms up, I’ll still be working on my own writing projects, but will also shift toward more teaching in community. More to report on that soon.

Why I Cannot Show you the Cake or Ice Cream

flowers july 17 15 post IMG_1306

These flowers are from a few weeks ago, from a celebratory reading that was the last session of a poetry workshop I led in a senior high-rise, where I have been having way too much fun in recent months as a teaching artist.

I would love to tell you all about it…about the inspiring human beings who gather for class each week, about the amazing poems they write. About the wit, whimsy, feeling, wisdom, playfulness, intimacy, and kindness that show up each week.

Each of the writers in the group wows me each week with the depth of their experience and their openness to the full range of things they are going through now. And from where I sit (and sometimes stand and sometimes wave my hands around in the enthusiasm of sharing a particularly fabulous poem), it seems to me these individuals have become something more than individuals.

They are also a community, a band of poets, their support and connection formed through the process of learning about, making and sharing poetry. People sometimes share experiences-joys and sorrows—that are as intimate as anything in a “therapy” group.

This makes it hard to show you or give you examples.

Because the stories and moments are not mine to share. Even though we meet each week in a fairly public space in the building, each week we create a protected space where risk, and intimacy and great poetry are possible. And that very real boundary of safety is something we build each week out of our trust that we will all protect each others’ privacy. The stories and the epiphanies are amazing and they belong to the people who shared them in that moment of the group…

So I so much want to give you a window into this work…and I want to respect that invisible wall of safety we create around our work each week.  Which leaves me with this…I brought these flowers from my garden for our reading celebration. I won’t show you the cake, or the ice cream or the illuminated faces of the elders reading their work.

I will just tell you that it was a good year for peonies and poetry and the mock orange smelled amazing and that I learned that people seem compelled to talk with a person carrying a vase of flowers on public transit (maybe that’s another post for another time.) And it was a pretty special party in my book.