Food for Thought

I will be serving up some “verbal appetizers” during the opening of The Dinner Parties: art & agriculture, Wednesday, April 10, from 5 to 7 pm, at the Porter-Sesnon Art Gallery at UCSC. If you are in the mood for fun and to see some unusual and moving art, and if you’d like to talk food and appetizers with me, please come by for the opening. If you can’t make the opening, try and get by and see the show: it is on until May 11.

For more information about the opening and the show please see http://art.ucsc.edu/galleries/sesnon/current.

Mucking About

Hello Everyone:

In my recent show, Starting from the Wrong Place, which I am happy to say, sold out and was a satisfying success, Neal Hellman and Adam Stanton were musicians who joined me in the second monologue. Their music brought a deepening and beauty to my words that enhanced and enriched the piece without overwhelming it.

But it didn’t start out easily for me: I usually work alone, so this was a new adventure. I remember one of the first rehearsals: Neal had worked hard and written a great deal of music, and I thought I had my piece memorized. But when I sat down next to Neal and he started playing, the dulcimer was loud and only about two feet away from my left ear and suddenly I couldn’t remember my lines, and the music seemed jarring and threw me off and I couldn’t see how it was going to work and, and, and . . . I started getting anxious and frustrated. Well, what to do. Well, of course, take it out on the dulcimer. Interior monologue: I hate the fucking dulcimer. Well, if you saw the show, you know it all works out fine in the end. And if you didn’t –– well it all worked out fine in the end. More than that. I came to love what Neal offered to my work. I/we just had to get past that first day, and I had to sit further away, and learn to interact with the music, not pretend it wasn’t there. The minute I understood that, everything started to work.

And then we added in the sax. And, damn if the same thing didn’t start up all over again. At first I couldn’t see how it was going to work and I was ready to pull the plug. But then, suddenly Adam’s music connected with Neal’s and then they both connected with my words and suddenly a little magic. And we were all surprised that a sax and a dulcimer could be so beautiful together. Who knew?

Point #2

Be patient with yourself. And, I was reminded over and over by my director Bill Peters, to enter into a relationship with the music. To turn to it and interact. How often in our creative work, do we just want it to work out without having to deeply engage somehow? It’s odd, because that deep engagement is what is so satisfying, but we live in an age and a time when we are constantly being pulled into  “continuous partial attention,”(http://lindastone.net/qa/continuous-partial-attention) and it is harder and harder to settle down and settle in. At least for me. But the moment we get quiet within, and ENGAGE, then the magic can happen. And that’s what worked here.

Which brings me to point #3

Sometimes it is important to get help, especially in the areas where you don’t shine. It’s ok not to know and understand everything. I can’t design flyers to save my life: I am a good artist, but have no design sense on the page. So, I hire someone who is good at that and let her take over and then I can go about doing what I do well.

I had a professor at UC Irvine (the late Robert Blanchon), who said to me once: Your job as the artist is the have the ideas–you don’t have to have the expertise in every technical part of executing the final product. This was a new concept for me and it has been so useful. If you bake terrific cakes, it doesn’t mean you also have to know how to grill well. Someone else might help you with that. Or, if you want to try it, be prepared to make messes, to throw some of it away ‘cuz it doesn’t always turn out well. But get in there and try things. Muck about. Be surprised. And let yourself have fun. By the way: I love the dulcimer now. And the dulcimer with a sax—oh yum.

Winter Light & Root Vegetables

Hello Everyone,

First the news:

For all of you who have asked where you can read some of my current work here you go: My personal essay, “On Reading Anne Carson’s, Nox,”  will be published in this month’s (December, 2011) issue of “Poetry Flash,” which will be available on-line and in print soon. And my performance story, “Way Out West,” was published in “Generations: a journal of images and ideas,” Vol 2, Spring, 2011. Also a reminder that a version of my performance story, “Dinosaurs & Haircuts,” appears in the excellent on-line journal,  “TRIVIA: Voices of Feminism,” Issue 11, October, 2010.

Now the meanderings:

Ah, the light, the light. Love the winter light. Get out the cameras and take portraits. It is the best light for portraits. Long and low and soft. Shadows short and sharp. Time to go deep inside and find out what’s wanting and needing your attention. Maybe more sleep, or perhaps just more “noodling” time. Chop wood and carry water time. Time for that pensive music: perhaps some Bach solo cello concertos, Russian choral music, or a quiet piece by Anoushka Shankar or . . . well, we all have our favorites.

Rest and quiet and dark nourish our creativity as much as sun and fire and rock n roll. Consider two kinds of creativity: active and receptive. In one, we go out seeking. We write our thirty drafts, work hard, do our research, make those phone calls, feel our energy directed outward –– active creativity. In another, we kick back, take a long hot bath, stare into space, “do nothing” –– receptive creativity. In one we work hard. In the other, we don’t work at all. When we are receptive we listen, we receive. It is in this doing nothing that our right brains can show up with their gifts. The poet, Jane Hirshfield once talked about intentionally going for long walks without pen and paper when she was stuck on a poem. One has to be committed to receptivity.

And the shorter days, longer nights, the darkening cave time is an invitation to receptivity. This does not mean you can’t be producing, (I am busy getting my new solo monologues ready to put up on stage which is a lot of work), but it does mean there is a turn of intention. Inward. I am sleeping more, lighting more candles, making all those wonderful cold weather foods, the soups, the stews, the root vegetables. I warm to the dark and the cold. It is a good time to listen: to your dreams, to stories. A good time to be close. Happy solstice to you all.

Events in our life happen in a sequence of time, but in their significance to                             ourselves, they find their own order…the continuous thread of revelation.
–– Eudora Welty