10 Lesbian and Bisexual poets that you shoud read

Anyone who knows me is aware that I'm an A in the LGBTQIA community and that I dig on some poetry so when I saw this post on Jezebel republished from the awesome Lesbian siteAutostraddle who admonish us to read a fucking book already, they had me at Adrienne Rich.( As a sociologist in queer theory, Rich pioneered the concept of compulsory heterosexuality which makes her a total rock star.)
Some commenters complained on Jezebel that there should be some representation for the gays too. I think it is perfectly appropriate that a lesbian site focused solely on women, and hopefully this way, someone else can publish an article about 10 gay and bisexual poets you should be reading.

Also featured are the redoubtable Eileen Myles, spoken word poets Kirya Traber, Alix Olson and Andrea Gibson. Gibson's poem "Ashes" is one of the most personal and important pieces of poetry I have ever witnessed, so if you do nothing else, watch this video.

They also feature personal favorite Audre Lorde who is a damn fine sociologist. She "pioneered the concept that racism, sexism and homophobia were linked in that they stemmed from people’s inability to recognize or tolerate difference." (from the write up on Autostraddle)

From Lorde's “Who Said It Was Simple”:

But I who am bound by my mirror
as well as my bed
see causes in color
as well as sex

and sit here wondering
which me will survive
all these liberations.

So do yourself a favor and check out the original article on Autostraddle, you just might end up reading a fucking book.

UPDATE:
A very nice commenter pointed me to a video of Tristan Silverman, a Chicago poet who makes a nice addition here. Check out her performance of the poem "Because I was Asked"

Ode to Joy: Frank O' Hara

Frank O' Hara calls to something deeply teenaged and romantic in me that I reserve nearly exclusively for good writing. At the same time he is speaking to many of the disparate thoughts swirling in my noggin these days: the construction of symbols, the meaning of distractions, the strange and bawdy terror of love and death.
His images, meanwhile, resonate and encapsulate beautifully the mundane beauties and uglyness of everyday life, like paper dioramas of Blake-ian die cuts.
If you like music with your poetry and would rather listen, try this and gaze at his handsome mug.
Or simply read below.

"You are the beautiful half/ Of a golden hurt."- Gwendolyn Brooks, Badass.

If you have never read her, do so, now. Probably most famous for her "We Real Cool" a study in colloquial rhythms and social constraints, replete with bravado and place names like "The Golden Shovel".

She says, beautifully, about the structure:

"The WEs in "We Real Cool" are tiny, wispy, weakly argumentative "Kilroy-is-here" announcements. The boys have no accented sense of themselves, yet they are aware of a semi-defined personal importance. Say the "We" softly."

She is also very well known for the wrenching poem "The Mother" which I will forewarn you is like a kick to the stomach. When I read those last lines, I am seized with terror and sadness, as they hit too close to home, too close to what I am most afraid of. It strokes the heart to fiercely, leaves indentations.

But I love her most for her portraits of urban life, especially that of women. Though some might see her as belonging to the Womanist school, I feel that boils down her complexity and fails to see her interactionist framework.

My Dreams, My Works, Must Wait Till After Hell

I hold my honey and I store my bread
In little jars and cabinets of my will.
I label clearly, and each latch and lid
I bid, Be firm till I return from hell.
I am very hungry. I am incomplete.
And none can give me any word but Wait,
The puny light. I keep my eyes pointed in;
Hoping that, when the devil days of my hurt
Drag out to their last dregs and I resume
On such legs as are left me, in such heart
As I can manage, remember to go home,
My taste will not have turned insensitive
To honey and bread old purity could love

what I'm reading and what's next

people have been asking:

P= pleasure, S= school
Native Son Richard Wright (s)
The Presentation of Self in Everyday Life Erving Goffman (p)
The Second Shift- Arlie R. Hochschild (p)
Two Girls, Fat and Thin- Mary Gaitskill (p)
Too Much Happiness- Alice Munro (p)
The Children's Hospital- Chris Adrian (p)
Changing My Mind- Zadie Smith (p)
My Life In France- Julia Child (p)
The past three issues of the Believer (p, duh)
Complications- Atul Gawande (s)
The Managed Heart- Arlie R. Hochschild (s and p)
The Pursuit of Attention- Charles Derber (s)
The ABC's of the Economic Crisis- Fred Magdoff and Michael D. Yates (s)
The New Media Monopoly- Ben Bagdikian (s)
Independent People- Haldor Laxness (p)
Up in The Air- Walter Kirn (p)
Under the Dome- Stepehn King (p)

Please get together and work out my intervention.

Are you Lonesome Tonight? Alienation and collective identity at work

Cue your speakers! This is a musical entry

As I was working this evening I took a little break to nerd out on The AV Club and ran across this interview with Joshua Ferris, author of the tremendous Then We Came to the End, a dark and funny and deeply resonating novel about office politics and the formation of identity around work, especially that of collective selves.

I just finished an amazing book by Peter Callero called The Myth of Individualism. Callero’s definition of individualism illustrates that individualism is a particular ideology with tensions between the personal and the social, the private and the public. It also assumes that values of independence and the like are “natural”; a rational worldview with people as free agents making choices with direct outcomes that impact their lives (17). Callero notes that this definition is not inherently a bad thing on its surface, but rather the unintended consequences and ramifications that create negative outcomes. In short, there are limits to the good that individualism can bring an individual and a society.(This would be a great introduction to some of the basic premises of Symbolic Interactionism, the kind of sociology that I heart if anyone is interested. On the micro-level he cites work by Sheryl Kleinman, Arlie Hochschild and Stephen Lyng to name a few.) Specifically he is talking about how the narrative we tell ourselves about how we become who we are is detrimental to us in the end because we fail to realize the power of the larger social forces that shape us. Callero uses great contemporary examples like the Unabomber (attempting to “make sense” of Ted Kaczynski from a sociological standpoint and ultimately seeing him as a “radical individualist” or an “extreme American” (16- 18)) , the mythology surrounding the supposedly singular accomplishment of some famous Americans, and the participation of disparate lliberal-union groups in so-called "battle in Seattle". In short, the myth of individualism was created, perpetuated and institutionalized by those who achieved success in order to 1) prevent people from understanding their own agency and the power of collective action 2) create a kind of flip logic in addition where failures and constraints are seen through the lens of personal responsibility and failure 3) obscure the collective action that allows elites to remain in power 4) avoid examining larger social issues in such a way that the powerful are not criticized. Mills talked about this in The Power Elite and Marx did to, as well as many conflcit theorists, but Callero pointely looks at the way the narrative of the American Dream is scripted for the continued disenfranchisement of those who will be least likely to achieve it. That is, as fewer and fewer people are able to reach success, the more they believe they could do so with lots of hard work and determination.
Callero is NOT saying that individuals are not ambitious and motivated by singular forces sometimes, but what he is saying is that many Americans buy into a dream they can never achieve and the power of that dream prevents them from seeking alternative routes to agency.

So what does this have to do with Joshua Ferris?

Well, Callero also talks about how work is a particularly strong force in how we define who we are and how we construct identities. This is especially important to understand as right now, a new generation of “downwardly mobile” Americans find themselves wondering where they went wrong, measuring their failures by the brutal yardstick of the American Dream and coming up short. When work becomes difficult to obtain, maintain and make meaningful in these contexts it affects our relationships to others and to ourselves. Our personal narratives no longer make sense as they get interrupted again and again. This is a symptom of new capitalism or neoliberalism Callero draws a map from the new capitalism to larger social currents and problems. Issues like crime, education, poverty, divorce, and social isolation cannot be treated as incidents of individual motivation (or lack thereof) that only quantify “individual limitations or personal weakness” (123).

But another limitation, one that also resonates with themes of alienation is how when we do work power separates us. As Ferris says in his interview:

When you’re a member of management, you’re usually not one of the group. Sometimes you have to make decisions that necessarily exclude the collective. It’s more difficult to be a friend—even though they know each other and they treat each other like friends, it’s more of a challenge for them. It’s just institutional fact; the two characters that are the most aloof are the ones who have the most responsibility. If someone were plucked from the group and given those responsibilities, they might find themselves growing more aloof, just by virtue of that promotion. Suddenly the group culture excludes you. I saw this in my own working life, and I don’t think it’s a coincidence—I sensed a kind of loneliness in middle managers especially. The people at the very top could fall by and grace you with their presence and give you a little largesse, and you’d be “Oh, I’m so beloved.” In a way, it was kind of like flattery. The middle managers didn’t quite have that cachet, but at the same time, they had to seem like they were of that caliber. So there’s a little bit of loneliness at the heart of those with a little bit of power.

Wow.

This statement is so true that is makes my teeth hurt, and it undesrcores the fact that those with power can become disconnected from those without it, even when they don't want to be. Being a manager is a special kind of hell in that you get to observe others forming bonds and creating strong collective identities, but you don't really get to participate. It's a lonely way to form a work identity in that you are usually doing it on your own, surrounded by those with more power than you (and similarly isolated) and those with less power than you (who are socialized not to see you as part of the group). You are from but not of. As Marx would say my "species being" is not being fully realized to my detriment. And I think Callero would say that this is a particularly American kind of loneliness at work.


To quote Bette Middler in Beaches, "Ok, enough about me, what do you think about me?

stop motion paper animation sets my heart aflutter

Thanks to Owen and the always excelent The Experts Agree
this is indeed, beautiful.

Twilight is Bad for Women, and Also, Bad.

Look at this poster.


I read the first and part of the second books in the Twilight series. Not because I'm a masochist, but because I love good young adult literature. Well, as a person who finished Finnegans Wake, Infinite Jest and most of William T. Vollman's books, I can tell you, this shit is unreadable.

The writing is bad. Just.Really. Fucking. Awful.

But it has beautiful vampires and is set in the Pacific Northwest and had crazy marketing so teenage girls flocked to this pile of manure in droves not seen since the height of the NKOTB madness of the late eighties*.

But worse than being bad, this series seems dangerous to me.

The thing that bothers me is that those who are rallying behind these books/ movies (due mostly to Meyer's Mormon faith, methinks) continually point out the strength and independence of the prtoagonist, Bella. Because the book tells you she's independent. But her behavior holds up traditional gender norms of women being beautiful, virginal, and submissive. Bella's obsessive thoughts about Edward are normalized in the world of Twilight and the violence between them and around them is normalized because it is surrounded by or associated with traditional romance imagery and props. This reminds me of an amazing article I read this semester written by Jennifer Dunn called “What Love Has to Do with It: The Cultural Construction of Emotion and Sorority Women's Responses to Forcible Interaction". Using the Interactionist perspective, Dunn examines the emotional response to and interpretation of “forcible interaction”, a qualified group of behaviors that run the gamut from “pestering” to “stalking” that transpires between two people when one is attempting to take by force what is normally freely given. What she found was how the “influence of courtship imagery” shape these women's “interpretations of unwanted attention”. This pattern was most pronounced in consideration of men they had been in long-term relationships with, but it was also present in the context of men they had simply dated. There was a “range of attempts” considered: leaving a gift, waiting at the respondent’s residence with flowers, leaving messages, showing up (sans flowers), following and suicide threats. All of these behaviors were understood to be forcible interactions but when they were framed with the “trappings of love” the women were much more likely to ameliorate the behavior into something they viewed as acceptable. Thispresents evidence of how women participate in their increased vulnerability to forcible interaction and how such behaviors are codified as acceptable when in the context of romantic relationships. Sound familiar?

Look at that poster.

A friend posted an article on FB that points out that by all measures, Bella and Edward are in an abusive relationship. Ha ha, Oh wait, no really.
This shit really bothers me. What are we teaching a whole generation of young women? I'm not saying that girls read Twilight and are suddenly spineless, boy-obsessed and sexually chastened morons, but I'm saying it doesn't help to have such a salient cultural touchstone be championed for having a strong woman protagonist when in fact it has the opposite. Bella is not strong, not independent and is kind of an idiot. Also, sex and violence are all mixed up and worst of all, she's made to feel guilty whenever she feels desire. . It really really really really really really bothers me that when Bella expresses physical desire she in punished in some way. Sex is always dangerous or imbued with violence. This is not OK. This is fucking bananas, and bad for women, and also, bad.

So.
Let's not, mmkay?
Thoughts?

* Madness which came to a screeching halt in my elementary school due to my brother circulating the rumor that Joe was rushed to the hospital with a stomach full of sperm. Jordan's sperm. I remember one friend, crying into her pencil box in the girls bathroom at T.A. Hendricks, wailing, "Joe! How could you do this to me!" Not to be judgemental, my first concert was NKOTB with my sister from another mister the night before Martin Luther King Day which her school failed to recognize so she had to get up and go to school while I got to sleep in. Oh, Indiana.

Hooray! Graphs!

I'm not going to say new favorite website, but I might be tempted:
http://graphjam.com/

“So You Want A Social Life, With Friends,”

Some of you know that I am a great advocate for and defender of modern poetry.Below is an example of why.
It comes from the poet Kenneth Koch a modern American poet who embraced the exuberance of (some) post modernists while refusing to mire his work in ridiculous navel-gaze-y self-aggrandizing experimentation. It is, however, lovely and melancholy and brilliantly observant of human behavior. I truly love the plethora of poetry on YouTube,everyone should take the time to check a few out.

This, by the way, is a portrait of Koch by the wonderful artist Alex Katz.

Well, someone finally got it right

As many of you know, I' a struggling atheist, one that slips into superstitious thinking and panicky prayer when I hurt or lose something. But there is one thing I REALLY can't let go of; I've always said that the closest I've come to the experience of having real faith is through reading. I'm thinking of Haven Kimmel in particular. She would love this, I'm sure.

Maybe I am a little prone to romanticizing bookstores (ahem): the scope, the nature, the feeling they give you. But I also believe, dear readers, that they are my holiest places, where I can breathe in the smell of paper and glue, silently commune with my fellow parishioners, and sometimes, just sometimes, feel the presence of something larger than myself and terribly good.

What are your favorite bookstores?

Thanks to Tara for this