Author Archives: Admin

“Parting the Backfire’s Hair,” Farnoosh Fathi, on “News”

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In the summer of 2011, I was the lucky recipient of a series of singularly wondrous missives from Farnoosh Fathi.

Above is the first one. We called them “slowtweets” as they issued via the USPS from Tassajara, located in a valley far from the internet’s reach in the Ventana Wilderness.

These “nuts” make up the beginnings of the ever-yielding poem, “News,” which you can read in its entirety on the PSA’s In their own words feature  along with Farnoosh’s notes on her process, about how the clemency she rustled up to write the pieces that make up this poem “made the poem more honest, and so, more mysterious, more knowing and idiotic and wild than I could have hoped or intended.”

And you can find Farnoosh’s exquisite new book, Great Guns here.

 

The Canary Creeper vine, on formal flexibility

“Mostly, I used to make this kind of thing.  Feathers. Could not get enough of feathers.

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Now, I mostly make these.  I don’t even know when it started changing.  Just one day, I was like, I’m done.  I just suddenly felt really done with wings, you know? And then these started happening.  I mean, I know I’ll never really be done with those wings, & I still LOVE feathers, of course. But for now, I’m really into what’s going on with these little ridged globes.

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photo by shundo haye

 

Chatterbox

In honor of Mother’s Day, here is a pdf of Chatterbox, an essay that appeared last year in Shambhala Sun magazine (January 2012). 

I no longer have the photo of my mom in the  quotation mark dress that sets this essay in motion, so hearty thanks to my brother Joe for his extensive transcontinental efforts in hunting around for other possible photos and to Tara Hardy for so thoughtfully envisioning the dress in her illustrations.  And many thanks to Andrea Miller for making the piece possible, and to Liza Matthews for her patience while we searched for photos.

Beautiful Experiments on Splashes: A Poetry Workshop, June 2

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Words strain
Crack and sometimes break, under the burden
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still.  
T.S. Eliot, “Four Quartets”

Okay, okay. Yes, language is a notoriously unreliable and fluid medium, But still, we continue to approximate slippery perceptions, to cast our experience into form.  We return, as readers and as writers, to this profoundly subtle and responsive instrument through which we can relate to one another and investigate what it is to be alive.

What else to do with such a fallible medium, and still with so much to say to each other, but write poems anyway?  Poems that somehow leap free of constraints of form and time, and surprise us directly into immediacy.

Poems thrive in fresh attention. How can we come to our poems open, free of preconception, ready for anything? How do we nourish that capacity?  We’ll cultivate a supportive context and inquire into how we can further open our receptivity to the living, breathing poems at hand, the poems we might skip on our way to some inert ideal of a Poem.

The day will include generative exercises, reading, group discussion of students’ poems, some consideration of formal and technical elements, and above all, we will investigate matters of curiosity, and explore ways to say what we haven’t yet managed to say.

The workshop is open to writers of all levels of experience and cultivates an atmosphere of respect for each others’ risks and offerings.

Participants are invited to send one poem of their own to the instructor in advance with an accompanying question or suggestion for discussion to help tailor the discussion.

June 2, 2013

Morning Session:  10 – 1

Afternon Session:  2 – 5

Fees:

Morning or afternoon:  $60

All-day $110

For an additional $30, you can register for an individual  1-hour conference with GL to be scheduled later.  (The regular rate for 1:1 sessions is $45 – $75/hour.)

Half-day + 1 hour private session:  $90

Full day + 1 hour private session: $140

held at the San Francisco Zen Center, Conference Center @ 308 Page Street (at Laguna)

For more information, or to register, please email me using the form below:

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The First Ever Writing Studio Reading!

I’m happy to announce that we’ll be having our first reading for all Sunday Studio poets and writers.

I invite everyone who has ever participated in the studio to come and read something!  It doesn’t matter if you haven’t been here in a while. Come on out! Each person will read for 5-7 minutes.

If you’d like to take part, please let me know as soon as possible, and definitely by May 15. 

Please feel free to invite friends and family. Light refreshments will be served.

Admission:  Free for readers.  All others by donation.  No one turned away of course!

Please email me below if you’d like to reserve a spot or if you’d like more information.

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Mr. Worthington’s Beautiful Experiments on Splashes

Studio Updates, April 4: Studio Reading & Summer dates

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2 llamasHi everyone~

I would like to schedule a reading for Studio participants.  If you’re interested in reading your work, please let me know which date would be better for you: JUNE 2 or JUNE 9

The reading will take place from 6:30 – 8:00 in the SFZC Conference Center.

Participants are invited to read for approximately 6 minutes (depending on how many people would like to be part of it).

Friends and family are welcome! Free.  Light refreshments will be served.

Here’s the updated schedule for the Studio through the beginning of August.

2013: Spring & Summer Dates

April 7
April 14
April 21
April 28
May 5
May 12
May 19
May 26
June 2 Possible all-day workshop
June 9 Possible all-day workshop
June 16
June 23
June 30
July 7
July 21
July 28
August 4

 

Studio Updates ~

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cropped-untitled.jpgLots of events coming up~

There’s still space in the all-day workshop, Inspiration as a Sustainable Practice March 31.

Please register early as space is limited to 12.

This Thursday, March 14th, I’ll be reading with Kazim Ali, giovanni singleton, and Christian Gullette at University Press Books in Berkeley.

& coming up next Saturday, March 23,  I’ll be teaching with Theresa Wong at Montalvo Arts Center.

Here’s how Theresa describes her  ongoing workshops in Berkeley:

Theresa will lead a workshop exploring the voice through raising awareness of the body. During the workshop, the following topics will be explored: using the breath, singing long tones, awareness of body tension, the location of vibration frequencies and creating sounds via focusing awareness on the body. Simple games of conducting via free movement gestures will be used to generate vocal sounds including textures, melodies, text and noises to allow the voice to take flight into its infinite expressive qualities. The emphasis will not be on ‘having a good voice’, but rather on each individual’s use of their voice in a natural and personal way.  All levels/experience with the voice are welcomed.

I’ve long wanted to teach a poetry workshop with Theresa to explore the sounds of poetry in a more spacious and embodied way so I’m thrilled to be teaching this workshop with her.

• THE SOUND OF HAPPINESS: A Voice and Poetry Workshop

Saturday, March 23, 2013, 1 p.m. 3 p.m.

SoundofHappiness13062I’ll be joining Cellist/vocalist Theresa Wong for an afternoon of vocal and writing exercises exploring the relationship of voice, language, and happiness. Theresa Wong will guide participants in vocal improvisations which explore how chance creates the possibility of creative freedom. And I will lead a series of writing exercises inviting participants to explore how uncertainty can be a ground of possibility and generativity in writing poems.

This workshop is suitable for all levels of experience and is open to all ages, including children.

This workshop is organized in association with Happiness is…, the inaugural exhibition for Montalvo Art Center’s new theme, Flourish: Artists Explore Wellbeing. Over the next twenty months join us in exploring the question: how do we live meaningful, happy and healthy lives

more info here

Please note that there is no studio on Sunday, March 24.

February 24

March 3

March 10

March 17

March 24  No Studio

March 31 No Studio/All-day workshop

April 7

April 14

April 21

April 28

May 5

May 12

May 19 No Studio/All-day workshop

May 26

and on into summer:

• SEEDS OF CURIOSITY: YOUNG WRITERS IN THE GARDEN

Monday, July 15, 2013 – Friday, July 19, 2013

9 a.m. – noon (Ages 9+)

Apr09_3 077BLURWriting and gardening both invite us to pay close attention to the world around us. Each day in our creative writing camp, we’ll explore Montalvo’s grounds and let our discoveries help to shape our writing! Activities include writing poems, stories, making a journal from found materials, planting seedlings, and papermaking. Students will read their work at the end of the week.

More here

What is a Neutral Practice?

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What is a neutral practice?

A way to relate to language thrown clear of the constriction of the too high stakes imposed by ideas about writing.

Neutral practices involve other texts sometimes, or repetition, or a change of mode, or of material.

Pleasure is key, or if not pleasure, at least a sense of lift, of relief, release, a lighter hold on permission.

Neutral practices aren’t always neutral, but they are perhaps less subject to the eye of the critic.

Neutral practices sometimes have benefits off to the side of what seems like the express purpose.

Some Examples:

1.  Memorize a poem

Some of the boons:

  • choosing the poem, all the browsing and reading that goes into that
  • becoming aware of the choices the poet has made as you make others in your memory of the poem
  • giving your mind something more fun and substantive to do than cycle through old news
  • having the poem at hand
  • embodying the poem
  • feels like translation
  • to be able to say it in the dark

2. Holograph

Handwrite a poem of your own.

Already this isn’t very neutral but is more of a helpful tool as you “re”vise.
Writing by hand slows you down and helps you see how lines are working, makes evident things you don’t need because it’s so much work to write it out.

The shapes the letters make become something your body needs to do differently, which is not the case in typing. So perhaps there is some sense of pattern one subtly internalizes.

3.  Type 3-5 pages of a book you love

Typing is a weirdly relaxing activity and it necessitates attention to all the particulars of the text, where paragraphs break, etc. It’s long enough that you enter the task as if it were your own.

4.  Take a walk

Walk for 20 minutes

Let your arms move in a converse motion.  This seems good for balancing your brain.  Stop at intervals and notice ten of some category and write them down without needing to know why.

e.g. all the nouns you can see, i.e. actual words

anything of a certain color

anything of a certain shape

5.  Browse the dictionary (in printed book form) No plan, just let one word lead you to the next.  Make notes of words you especially love.  See if you hear them in conversation or can find an occasion to use them.

Here is what a printed book looks like:

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Here is what the inside of a printed dictionary looks like: Yes, you have to turn pages to get to another word, but you can look at this all day long and get almost no radiation.  (just a very tiny bit every 5,000 or so years.)

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