Sherry Chandler

Licking Valley Writers Workshop

I will be signing from 4:00 to 5:45 tomorrow at the Licking Valley Writer’s Workshop sponsored by the Licking Valley Campus of Maysville Community and Technical College.

The event will be held at the historic Prizing House* and will be followed by a dinner with music by Rusted Clay. After dinner, and Kentucky’s Poet Laureate Gurney Norman will deliver the Clay Lecture.

The signing includes a stellar collection of Kentucky’s authors: Gurney Norman, Frank X. Walker, George Ella Lyon, Anne Shelby, Leatha Kendrick, Diane Gilliam, Jill Morgan, Mary Ann Taylor-Hall, Marianne Worthington, David Dick, Karen Angelucci, Lynn Shaffer, Buck Pennington, and Britt Kennerly.

On Saturday, workshops will be presented by Walker, Gilliam, Lyn, Shelby, Norman, and Kendrick.

This Licking Valley Writers Workshop was conceived and created, as was the Licking Valley Campus itself, by Bruce Florence, a woman of vision. I, for one, am very grateful to her.

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*A prizing house was a place where cured and graded tobacco was “prized” into hogsheads for shipping.

Not quite serendipity

I have these little episodes in my life that are not quite serendipity, which the American Heritage Dictionary defines as “The faculty of making fortunate discoveries by accident.” The word comes from a Persian fairy tale, “The Three Princes of Serendip,” by the way, and entered the language via Horace Walpole in 1754.

But these little blips of mine are more like coincidence. The fact that they show up at the same time or in rapid succession looks like it ought to have some meaning …

Take yesterday. First, I went over to Rake’s Progress and learned:

On this day in 1923, James Joyce wrote to his patron, Harriet Weaver, that he had just begun “Work in Progress,” the book which would become Finnegans Wake sixteen years later…

The Rake himself picked this up from Today in Literature, along with the fact that not Harriet Weaver, nor Joyce’s wife Nora, nor even Ezra Pound cared much for this new style of writing. Their putdowns are funny and I suggest that it will be well worth your while to take a look. But the money quote for me came from Samuel Beckett, the dissenting voice in this crowd:

You cannot complain that this stuff is not written in English. It is not written at all. It is not to be read…. It is to be looked at and listened to. His writing is not about something. It is that something itself.

A little later, I followed a link over to Slate, where, in an article called “The Instruction Manual,” Meghan O’Rourke had this to say about John Ashbery (the fact that Ashbery is showing up a lot is not even coincidence – it’s his new books):

At the center of an Ashbery poem isn’t usually a subject (à la Philip Larkin) but a feeling (à la Jackson Pollock). That feeling is conjured up by the interplay between aesthetic conviction and amiably bland bewilderment; amid all the flotsam and jetsam of everyday life is the enduring hope that, as one speaker puts it, “at last I shall see my complete face.” The best thing to do, then, is not to try to understand the poems but to try to take pleasure from their arrangement, the way you listen to music. It’s only then, for most readers, that the meaning begins to leak through.

And finally, Anastasios Kozaitis, who makes a Poem of the Day appear in my in-box every day, sent “Into the Dusk-Charged Air,” a John Ashbery catalogue of rivers that I confess to getting bored with about half the way down. O’Rourke gives me permission to do this – one of her recommended strategies for reading Ashbery is to quit a poem when you get bored with it. Anyway, I found this catalogue as dull as any Homer ever wrote, except that it contained this line:

…the Ebro is blue / and slow

Coincidentally, we own a Spanish-made tractor, brand-name Ebro, which my husband calls “the only tractor Caesar mentioned in his commentaries” and which is in fact “blue and slow.”

Now, if you think that maybe this string of coincidences means that I should run out and catch up to The New York School or even read Finnegan’s Wake when I have yet to get through Ulysses, then I have one more of yesterday’s facts to point out. According to David Dick, in 1926 when William Faulkner published Soldier’s Pay and Earnest Hemingway The Sun Also Rises, Jesse Stuart was at what was then Camp Knox longing to be Robert Burns or Edgar Allen Poe. We tend to run a little behind the curve here in Kentucky.

Am I just being silly here? I do believe poetry, and for that matter prose, should be musical, a pleasure to hear, as I’m sure did Stuart, Poe, and Robert Burns the lyricist. I love reading aloud and my family has suffered through many a listen-to-this. And, being involved in this collaborative exhibit, I’ve been thinking a lot lately about what the link between poetry and the plastic arts (see Secrets and Used, New and Out of Print). Mostly, I guess I think there are a lot of people who try to be Jackson Pollock before they have learned how to be Grant Wood. I’m still working on Edward Hopper.