PW-funded poet Camille Dungy blogs about the daily life of writers and the role Poets & Writers' Readings/Workshops program plays in that life. Dungy is a professor in the Creative Writing Department at San Francisco State University. She has published three collections of poetry—Smith Blue (Southern Illinois University Press), winner of the 2010 Crab Orchard Open Book Prize; Suck on the Marrow (Red Hen Press); and What to Drink, What to Leave for Poison (Red Hen Press).

Thus far in this blog series, I've talked about how a two-page questionnaire distributed to writers whose events are co-sponsored by Poets & Writers directly engages some of the things writers do all day: We answer questions: We worry about whether we'll find an audience willing to read our answers.

This week, I want to talk about another thing a person who calls himself a writer must regularly accomplish: The writer must find time, somehow, to write.

How does a person who wants to be a writer find the time to write? There are so many responsibilities and distractions and interruptions in this world. How on heaven's earth (Where did that phrase come from? When did heaven get to also possess earth?) does a writer stay focused on the task at hand?

The final question on the two-page, salmon-colored questionnaire distributed to all writers who are paid to participate in a P&W co-sponsored event reads as follows: What was the impact of receiving support from Poets & Writers on your experience of this event, your career as a writer, your relationship with your audience, etc?

One way I interpret this question is that it asks what it means to be paid to talk about what I write.

Short answer: It means a lot.

More elaborate answer: It means my time is valued; my craft is valued; my words are valued; my relationship with the community to whom I am speaking has a value; that a community has taken the time to write a successful grant proposal to prove their dedication to a life of letters, and this has a value. When I receive a check for speaking to a community of people about writing, it supports me as I continue to seek answers, and it encourages me to work to write those answers down for other people to read.

I am not writing out of a desire to make loads of money. If I intended to dedicate my life to financial return, I would have gone into global finance. Those folks are storytellers too. I made a choice to get my poetic license because writing is sacred. It is necessary for my survival. In the same way I have to regularly make time to exercise my lower back and core muscles so the lumbar region of my spine doesn't give out and cause indescribable pain, I have to write regularly so the questions that fill my head don't bring me grief. It is an immense comfort to know I am not talking to myself, but I would write whether there was anyone to read what I wrote or not.

Writing is the means by which I come to understand myself. Writing is the means by which I come to understand my community, my world. Perhaps you know a runner, the sort who is not herself until she has logged her miles for the day. Though she may be on a business trip in a city far from home, before she heads to her morning meetings she has already logged eight-miles and can tell all the other traveling salesmen the layout of the town where they've stopped for the night. That is who I am in relationship to the page. I am lost without it. I find time to write because it is through writing that I find myself.

The impact of receiving support from Poets & Writers is the ability to hire a babysitter, or buy better writing equipment, or purchase meals that save me time and labor in the kitchen. The impact of receiving support from Poets & Writers is the affirmation that people are reading what I write. That affirmation keeps me going, sometimes, through the long lonely hours. The impact of receiving support from Poets & Writers is that I occasionally have to the opportunity to articulate to others why on heaven's earth I care so much about writing that I want to share my love of writing with the world. The impact of receiving support from Poets & Writers is the affirmation that the time I take to write has a value.

How does a writer find time to write? She comes to believe that the time she takes to write is precious and should be treated as such. Her community can support her in this. She also has to believe in herself.

Photo: Camille Dungy.  Photo credit: Marcia Wilson/Wide Vision Photography.

Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Peter J. Harris, founder and Artistic Director of Inspiration House, is an African American cultural worker who has since the 1970s published his poetry, essays, and fiction in a wide range of national publications; worked as a publisher, journalist, editor, and broadcaster; and been an educator, and workshop leader for adults and adolescents. Harris is also founding director of The Black Man of Happiness Project, a creative, intellectual, and artistic exploration of Black men and joy. He is a mainstay of the Los Angeles arts community and has been supported by P&W as both a writer and event curator.

What are your reading dos?
I choose poetry that feels right for the moment and best captures my artistic voice, as well as the ideas and emotions welling within me as I absorb the atmosphere of the venue.

I try to contribute to the overall harmonics of the event, but prioritize sharing work that resonates with my journey as a human being and focuses the audience’s attention on that journey.

When producing or curating, my essential “do” is to present programs that include virtuosos—poets with vitality and distinctive voices, who are enchanted by the power of well-chosen language.
 
How do you prepare for a reading?
Give thanks for the invitation. I choose work that addresses the theme of the reading and review works-in-progress I'm inspired to revisit, in hopes that my preparations might include sharpened insights and heightened skills to complete the new poem in time.

Over the years, I’ve found that publicly reading freshly minted work is difficult, but exhilarating. I can’t rely on memory or familiarity to take it to the bridge. Reading a new poem makes me nervous, slows me down, quiets the room, and demands that I concentrate on feeling/capturing the nuances of the poem in real time. Under the right circumstances, folks in the audience experience and witness in a positive way the humility of my struggle, and they lean in to listen and join me on the exploration.
 
What’s your crowd-pleaser, and why does it work?
Honesty. Fearlessness. Conversational, passionate delivery of the poem. Resist the urge to lean on what some folks might call a signature poem.

Place the poems first. The audience is there to hear the work, not to see me, even if I’m the “featured” poet.
 
What’s the inspiration behind the Inspiration House PoetryChoir?
Inspiration House PoetryChoir, a collaboration between a shifting roster of virtuoso poets and improvisational musicians, is my old KPFK radio show stood up on its feet. The radio show, “Inspiration House: VoiceMusic for Whole Living,” aired from 1999 to 2004 on KPFK-FM, Pacifica Radio for Southern California. The show featured poets reading their work to recorded music. Poets selected poetry in response to the music, and I selected music in response to the poetry.

Inspiration House PoetryChoir events unfold in the same unscripted way, with the audience encouraged to respond spontaneously—with shouts of encouragement, amens, and affirmation—to the skill of the poets and musicians, stitching their voices into the dialogue, and helping to produce a testament to whole living.

The Inspiration House PoetryChoir is also a reflection of my thinking that poetry readings can become ceremonies that are mini rites of passages, in which participants begin the experience in one state of mind/being; plunge into the deep exchange between poets sharing their work, while musicians improvise musical responses to the poetry, all of us losing ourselves within the blending of words, intonations, audience responses, and dynamic silence; then leave the gig renewed and recommitted to cultural work that contributes to the creation of a humane society.

What do you consider to be the value of literary programs and the role of the writer in the community?
Ideally, literary programs are concentrated opportunities to swap ideas, testimony, and stories that celebrate our uncensored voices. Sometimes they present virtuosos whose mastery sets or expands standards of excellence. Sometimes they are briar patches to intensify the creative and artistic intimacies of writers of a common cultural or stylistic flow. Sometimes they call us to cross borders and be ethical witnesses to the evolution of themes and issues that hip us and humble us, so we’re reminded to stay curious and hungry to learn.

The role of the writer in the community? Scribe. Critic. Griot. Historian. Entertainer. Provocateur. Visionary. Tour-guide to big ideas, insecurities, and private insights that unlock public understandings. Mas o menos!

Photo: Peter J. Harris. Credit: Adenike Harris.
Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

PW-funded poet Camille Dungy blogs about the daily life of writers and the role Poets & Writers' Readings/Workshops program plays in that life. Dungy is a professor in the Creative Writing Department at San Francisco State University. She has published three collections of poetry—Smith Blue (Southern Illinois University Press), winner of the 2010 Crab Orchard Open Book Prize; Suck on the Marrow (Red Hen Press); and What to Drink, What to Leave for Poison (Red Hen Press).

Last week I wrote that one of the things writers do all day is answer questions. Is that really all we do? Of course not. Another thing writers do all day is worry about whether we've figured out the best way to answer the questions presented to us.

The simple one-word answer, though efficient at times, won't get us a whole book, or even a whole page. And who ever heard of someone finishing a whole book when they couldn't even fill a page?

Thus, we elaborate. The prominent color in that sunset is no longer just red. It becomes a red that reminds her of the coral ring her sister used to wear on her ring finger after she left North Carolina and her first husband for the job she took in Vermont.

We can go on and on, you see, asking the right questions and elaborating on them. What was the story with the first husband? Why first? How many more? Why Vermont? Can I say more about the ring? What's with the punctuation? Is this the start of a paragraph or a poem? When presented with the right set of questions, a writer can go on all day.

Then, though, comes the next big question: Who really cares about our elaborate responses anyway?

Last week, I wrote that Poets & Writers graciously presents its funded artists with a list of questions they are encouraged to elaborate upon. This is part of the role of the community that supports its writers. The community that supports its writers ought to give them lots of good questions to answer: Describe the event. Why did he open the door? Who is he sitting with? What was the impact of receiving support? If I could figure out really good answers to these questions, I could write a whole book.

But who would read it?

Poets & Writers knows that writers often worry that what they are writing won't reach a receptive ear. They've anticipated this and close their questionnaire with these words: The information provided on this report is integral to the continued success of the Readings/Workshops program and is necessary to ensure continued funding of the program. Poets & Writers thanks you for your help in this regard.

Do you see what I mean? Poets & Writers has figured out how to make the writer understand that her carefully chosen words matter. Someone, somewhere, is waiting on an answer.

I am not making light of this. I understand that it is amazing that Poets & Writers has chosen to use its resources to encourage writers and the artistic programs and community organizations that support writers and their readers. Knowing such an organization exists and understanding all the tangible ways they support the life of letters in this country should quell any worrying writer's fears about writing into a void. There are people out there, and they care about writers' ability to carry on.

Now, all the writer has to do is find the time to write.

Photo: Camille Dungy.  Photo credit: Marcia Wilson/Wide Vision Photography.

Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.