Liturgy for a different Tisha b’Av

The newest revision of my Tisha b’Av ritual is now available for download here: Tisha b’Av 5773

About this liturgy:

As a contemporary Jewish feminist and peace activist, I could not pray for the restoration of the Temple and the world view connected to it, but I could honor the vast sense of loss that the tradition of Tisha b’Av held. I’d felt that same loss in writings by Jews exiled from European homelands, and in writings by Palestinians driven into exile in the Nakba at the time of the creation of the Jewish state of Israel. As I tried to create a service for Jewish activists that would both resonate with our own cultural sense of loss AND give voice to our desire to honor the experience of our Palestinians allies, friends, and co-activists, I focused on this shared reality of exile as the theme of the service. As a poet myself, I constructed this service by looking for a mix of poems by Jewish, Arab, and Palestinian writers—a mix that would defy time, location and distance.

#poetrylive Sarah Freligh

So I just finished reading, and tweeting from, Sarah Freligh’s chapbook A Brief Natural History of an American Girl. You can read back through the tweets in the box on right. These 17 poems weave a story of a teenage woman’s sexual curiosity and discoveries, told reflectively from an older voice. The territory of how teen sex opens but also limits young women has been told expertly many times, although we still need more and more of these stories in a culture where the measure of sexual experience is the male orgasm, and where we have no word to describe sex that was legally consensual but left young women feeling violated, hollow, used only to give pleasure to someone else. We especially have no single word for the experience of a sexual interaction that both parties enjoyed, that a young women felt made her special or feel special, only to find the details smeared across her social world as dirty or shameful or as her having been “had.”

In the face of those silences, poems like Freligh’s matter. I think, too, of Joan Larkin’s crown of sonnets on this subject, or of Kathie Dobie’s memoir The Only Girl in the Car. The center of Freligh’s poems is not the sexual violence Dobie describes but another intense pain – becoming pregnant and giving the child away. Three of the seventeen poems take this on directly, but others in her emotionally dense book circle around the loss, including poems about her relationship to her mother and her mother’s death.

My favorite poem comes near the end, a tragi-comedy reflection on being a middle-aged woman:

Depending

The rooster no longer cocks
his doodle doo at me now

that I can’t hatch eggs.
Old hen: all fruitless

tubes and bristled
chin. Explaining

the sestina to freshmen
yesterday, I farted. What’s

next? Leak of urine, I guess,
unexpected, like the day

in eighth grade when I felt
the pinch of a tiny hand

wring my insides: the slide,
the trickle, the long walk

to the desk for a hall pass praying
nothing showed. Years later

when I’d say thank you,
Jesus
, or god damn.

You can buy the chapbook through Accents Publishing. You can find out more about Sarah (a former sports writer for the Philly Inquirer) here: Sarah Freligh

#poetrylive

I’m starting a new project on twitter these days: #poetrylive. Since I always want to review, or at least write a few paragraphs about, poetry books I’m reading but never actually do, I’ll now be live-tweeting as I read through each book. Follow along, and you’ll get a taste of what’s happening!

Follow me @thisfrenzy to come along for the poetry ride. Or live tweet whatever you’re reading and let me know so I can follow you!

I just finished Sarah Freligh’s chapbook “A Brief Natural History of an American Girl.” You can read through the tweets on the right in the Twitter widget. And you can buy the chapbook at http://www.accents-publishing.com.

On Translating “Bluetooth” from an essay by Art Beck

Want to understand the mysteries of translating cultural idioms? A friend sent me this wonderful essay from the journal Rattle, “The Deep Pulse of Idiom.” Go mark the page and read the whole thing when you have time, but for now read about how some future translator will try to deal with the image of Bluetooth device in a 21st Century Poem:

IV: King Harald’s Blue Tooth

In our world everything is accelerated, and the blurring process can happen quickly. Most everyone knows—at least in passing—what “Bluetooth” does. It allows wireless connection of various electronic devices.

As a bit of background, the electronic protocol was negotiated by a consortium of major manufacturers to enable any Bluetooth device to “talk to” any other without regard to different individual software or competitive formats.
But why the name Bluetooth? Because the consortium of competitors named it after the tenth-century Danish King Harald Bluetooth, who “united warring factions.” Even knowing this, who thinks of King Harald when they use a Bluetooth device? Not even the most nerdish among us, I’d guess.

In the nature of things, Bluetooth, like VHS and Beta will, sooner probably than later, pass into the graveyard of old technology. But let’s say that before that happens, one of us became inspired to use Bluetooth in a poem. Maybe a love poem entitled, say, “Electricity”:

… our fingers didn’t need to touch,
when we glanced, our eyelashes were already entangled.
Your whisper was Bluetooth tickling my tongue.

Well, I pulled those lines out of my butt, but say they were better and that something came of the poem, that it got good enough to be anthologized, and some fifty or a hundred years from now someone wanted to translate it into German or Chinese. Let’s say five hundred years from now, long after the minutiae of today’s high tech is as obscure as the highly engineered parts of ancient racing chariots. Think what fun a 26th century translator might have with “Bluetooth.”

Think how impossible it would be for someone in another culture and separated by five hundred years to get it right. In the context of accelerating change, the average educated reader knows more about the minutiae of the Classical world than the seventeenth or eighteenth century, mainly because up until that time our ancestors had longer cultural memories and wrote all this stuff down. If change keeps accelerating, how could someone five hundred years from now hope to research a technology that probably will last less than ten years?

So think how many ways there might be in 2610 to get the Bluetooth whisper wrong. Was Bluetooth a drink? Obviously. Some sort of vodka, no doubt. No, a type of oyster, ergo a late twentieth century euphemism for a forbidden sexual practice.

An intuitive poet-translator might simply finally choose to ignore “Bluetooth” and, taking a cue from the title, emend the line to “your whisper was electricity tickling my tongue.”

In fact, saying that, I’m thinking that “Bluetooth” might make a better title for the poem than “Electricity,” and electricity is better than Bluetooth in the line. But then translators could argue about the title. Is “Bluetooth” a woman’s name, perchance? A disease? Some sort of dental tattoo?

But what if, five hundred years from now, a translator did stumble on not only the definition but the etymology of Bluetooth? And what if that translator decided to utilize the image implicit in Bluetooth: King Harald uniting the warring factions.

Then, we’d have something like: “your whisper was a truce tickling my tongue.” On the one hand, maybe a more interesting, more complex poem—and a better poem? But if so, isn’t the translator mining something that wasn’t really there? Adding an embellishment that wouldn’t have occurred to any twentieth century reader.

But why not, if it adds to the 25th century translation? If it produces a real poem that resonates with 25th century readers, what harm’s done to the long since worm-eaten original poet? To the competitors who coined the word, Bluetooth was, above all, a productive detente. A format that avoided expensive, needless product wars. To its users, Bluetooth, with its strange alliterative name, evokes a sort of magic, an electronic ESP. A glowing tooth of sorts. Cool electricity. But these are the kind of resonances that will be hopelessly lost five hundred years from now. If the hypothetical Bluetooth poem is somehow resurrected in that hypothetical future, other—as yet unimagined—resonances will have to replace them.

The Narrative of Love: Readings by Angel Hogan, Nathen Wurzel and Elliott batTzedek Sat. 2/16 7 pm

The Narrative of Love: Readings by Angel Hogan, Nathen Wurzel and Elliott batTzedek.

Love is kind. Love is plain. Love is eloquent. Love is hard. Love is soft. Love is queer. Love is universal. Love is all encompassing. Love is stronger than death. We’re celebrating love in all forms.

Join us at iMPeRFeCT Gallery in Germantown for a selection of stories, poems, and narrative from three Philly writers that create out of love.

Where: iMPeRFeCT Gallery, 5601 Greene Street, 19144 (Germantown)
When: Saturday, February 16, 2013, 7:00pm

Feel free to bring drinks, snacks to share

Now showing in the Gallery:

Gays in the Military: How America Thanked Me

January 21. 2013, Philadelphia (Germantown), PA: IMPeRFeCT Gallery is thrilled to announce the exhibition, Gays in the Military: How America Thanked Me, featuring photographs by renowned New York-based photographer, Vincent Cianni. This exhibition will be on view from February 6 through March 2, 2013 at iMPeRFeCT Gallery, 5601 Greene Street, in the Germantown neighborhood of Philadelphia. The opening reception is on Saturday, February 9, from 6:00 – 9:00pm.

For this series of photographs, Gays in the Military: Or How America Thanked Me, Cianni set out to explore how many lives had been affected due to homophobia in the military.” The resulting images are engaging and honest portrayals of patriotic people dedicated to serving a country that openly discriminates against them. Since Cianni began this work, the “don’t ask, don’t tell” policy has been repealed, but with these photographs Cianni shows us that the lasting effects of homophobia, discrimination, dishonorable military discharge, and a history of harassment and discrimination continue to have striking impact in his subjects’ lives.

Cianni has interviewed and photographed over seventy service men and women from all ranks and departments of the United Stated military. In 2010, he spent six weeks on the road compiling oral histories and making portraits of his subjects. His photographs are straight-forward and documentary in style, typically showing subjects in their homes, and surrounded by the everyday accumulations of living. These frank and familiar depictions allow the viewer to enter into the story; after all, the people in these portraits could be anyone’s sister, uncle, or father. Cianni makes photographs that resonate and draw people together. He records the lives of individuals at the same time that he reveals and documents a significant episode in the history of the United States.

Vincent Cianni graduated from Penn State University, the Maryland Institute College of Art, and SUNY New Paltz. He teaches photography at Parsons The New School of Design, NYC. He currently lives in Newburgh, NY. His documentary photography has been exhibited throughout the country in major museums including the Philadelphia Museum of Art. A major survey of his work was exhibited at the Museum of the City of New York in 2006. His work is archived at Duke University’s Rare Books, Manuscripts and Special Collections Library.

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iMPeRFeCT Gallery
5601 Greene Street, Philadelphia, PA 19144
imperfectgallery.com

understanding my connection to Shez’s poetry

As I’ve been doing final (for now) edits on my translations of Shez’s poems, I keep feeling a kind of haunting—some of her words could be my own; I could definitely interweave the translations and my poems into a single, unified text. Sometimes I even dream about having my work translated into Hebrew and then doing a combined work in both languages, of letting our voices flow together like that.

The project, after all, is definitely the same—to replace the silence of the terrified girl with words that are strong, forceful, even violent enough to break the choke hold that sexual terrorism imposed on her. Which is why, even as I struggle with most of the subtleties of her Hebrew, I understand the poems, feel them deeply inside of myself, and know how to give them new voice in English.

With this always in my thoughts these days, I started reading Edith Grossman’s why translation matters, and came upon this quotation from a letter William Carlos Williams wrote to Nicolas Calas:

If I do original work all well and good. But if I can say it (the matter of form I mean) by translating the work of others that also is valuable. What difference does it make?

There is a silence that must be ended. At the end of my long sequence of poems called “Wanting a Gun” I declare: “I am writing, writing, writing.” In a poem addressed to her father, Shez declares, “You will not erase me off the page.”

The difference that is made is that now I know Shez. And soon all of you can know her, too. And hey, my hard work has made that difference. Rare enough that I let myself celebrate my own work, but today, after a couple of weeks of being trapped in some dank and musty emotional cave, I’m feeling celebratory.

Poetry Wednesday – “The Kiss” by Anne Sexton

Poetry Wednesday – “The Kiss” by Anne Sexton from the anthology intimate kisses: The Poetry of Sexual Pleasure, edited by Wendy Maltz

“that shock of recognition” – more on poetry as liturgy

Saturday was the 5th anniversary of Fringes, the feminist havurah I co-lead. We use contemporary poetry as the words we pray, which works so beautifully. I’ve learned a lot about how to choose poems that work as liturgy, such as using poems with more direct syntax, or ones that more visual imagery and less literary references.

Last week, as I was creating the liturgy for our service, I read an amazing essay by Sarah Maguire, mainly about translating, called “‘Singing About the Dark Times’: Poetry and Conflict.” In addition to the astounding (and true) observation that “translating poetry is the opposite of war,” she had some clearly described insights into how poetry works in general, which helped me understand more about how and why poetry functions as liturgy for my group. Two sections on this, from the end of her essay:

A poem needs to be taken up and examined very carefully, many times, from a variety of perspectives. Its foregrounding of its music, its strange, self-conscious devices — like rhyme, rhythm and complex verse forms – draw attention to itself, separate it from quotidian language. As Plato said, reduce a poem to plain prose and it’s gone. Paraphrase its metaphors, sum up its ‘content’, and the magic vanishes as swiftly as a magician whose hat is missing its rabbit. Metaphor – which, as you know, in Greek means ‘to transfer, to carry, to bear’ – is the defining methodology of poetry. Using metaphor, the poet can bring together elements which, in ordinary life, are kept apart, juxtaposing incidents and details from radically different discourses and facets of life, ignoring the logic of metonymical progression, of one damned thing after another, which is the logic of separation.

The key to powerful lyric poetry, of course, is its intimacy: the way it allows us to apprehend and experience the most elusive, the most ephemeral of subjective experiences. That shock of recognition when something we know about, intimately, but have never been able to name, suddenly appears before us in charged and potent language. A good poem draws us back, again and again, in an attempt to tease out its power, to discover how something made only of words can exist, simultaneously, on so many planes at once. Can make connections between things hitherto we thought had lived in disparate realms.

Performances page is open!

I’ve finally gotten my act together (thanks to the joy that is Woot and my new flip video camera) and begun posting audio and video clips of my readings. Look for the “Performances” tab at the top, or click here.

The first clips up are from my reading at Women’s Spoken Word series at Moonstone Arts Center in Philadelphia on November 16th.

Enjoy!