Altered Books for Altered States

I found this book, along with some others from the 1860s and 70s, in a pile at the back of a closet, and now I’m altering it as a form of therapy.

This book is aimed at “the farmer’s boy” and “the humblest clerk”

It’s also a way to play, to discover, and to stay curious. What strange repetition of images and contexts will I find? What is this found poem trying to say say to me?

In my mind there’s an emotional context that a reader might not experience, but it doesn’t matter. We make our meaning of it as the moment happens. The reader finds their own meaning, and the drawings add another layer.

It’s very restorative, the process of finding poems. It’s a moment I can dip into over and over, pour m’amuse.

The nutsy granola, aging-hippie in me chafes at the book’s intended purpose and audience, which is to introduce young, working class men to “polite society,” to help them polish off the rough edges and give them a boost in status.

But it also is fun to leaf through it to read the party tricks they teach, which all rely on word games or versions magic tricks such as “the three matches.”

Press and Bindery of Historical Publishing Company, Philadelphia
I hope I’m not scandalizing the librarians and antiquarians out there by marking up this book
I did this one on the plane coming home from Chicago

#alteredbook #poetry #artheals #blackout poetry #erasurepoetry

Performance Poetry

Poet Stevie Smith (1902-1971) is known and loved for her ballad-like poems and the ironic yet confessional lyrics she often paired with expressive drawings. But she was also one of the first performance poets–she created a performing persona for her poetry festival readings during the 1960s.  At the age of sixty  she wore lace stockings and pinafores to her readings, and she even sang the poems during her performances.

Many others have set Stevie’s poems to music. Here’s a jazz version of her poem “Mother Among the Dust Bins.”

Vic Chesnutt recorded “Not Waving But Drowning.”

In an essay I’m writing about Smith, I argue that listening to Stevie’s recordings provides another layer of meaning to the experience of her work. During my research, I’ve rekindled an interest in Spoken Word poets in general, and I’m thinking about how my own writing will change as a result of what I’m discovering.

More Performers:

Here is a quote from an interview on Stephen Mill’s Joe’s Jacket with poet Megan Volpert, who has performed her poetry and competed in Slam competitions. Megan has transitioned from her performance work (although she still gives entertaining, creative, and interactive readings) to writing poetry collections, but she has this to say about what she has learned from her both stage and writing experiences:

This is one thing I am pretty sure about though: a poem built for only the page or only the stage is most likely a failure. All poets ought to make the most of both.

Megan’s next project, Sonics in Warholia, will be released in December, 2011 by Sibling Rivalry Press.

Another inspirational performance poet is Sarah Kay. Listen to her tell her story on TED–you won’t even notice the time as she skips from one story to the next.

Statue in Honor of Francis Scott Key, “amateur poet” who wrote the lyrics to the “Star Spangled Banner.”