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Anis Shivani: National Poetry Month Emerging Poet Spotlight: Interview with Lynn Xu, Author of Debts and Lessons

Anis Shivani: National Poetry Month Emerging Poet Spotlight: Interview with Lynn Xu, Author of Debts and Lessons HPFB.init();
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Anis ShivaniWriter, anisshivani.com

GET UPDATES FROM Anis Shivani   Like 58 National Poetry Month Emerging Poet Spotlight: Interview with Lynn Xu, Author of Debts and Lessons Posted: 04/15/2013 4:57 pm Read more Experimental Poetry , National Poetry Month , Rusty Morrison , Canarium Books , Joshua Edwards , Lynn Xu , New Poetry , Omnidawn Publishing , Poetry Interviews , Poetry News , Postmodern Poetry , Small Press Poetry , Books News
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Lynn Xu's debut book of poetry, Debts & Lessons, has just appeared (April 1) from the always terrific Omnidawn Publishing. Together with Robyn Schiff, Nick Twemlow, and Joshua Edwards, Lynn edits Canarium Books. My interview with Lynn follows, but first, here's one of my favorite poems from the book, "For Frank O'Hara," from the "Lullabies" section:

Dear Frank. I am writing you a letter with nowhere to send it. We've taken a room in San Felipe, on the Calle de los Claveles. Separating the bedrooms are fifteen paces covering the length of our courtyard. Purple jacarandas seesaw above us and in the street, blouses dissolve like lozenges to release the natural color. At night we are carried out with our noses missing. Darkness spreads from person to person. Black hills outstretch the rugged profile of the soil.

Anis: How long did it take you to write Debts & Lessons and what were the major stages in its growth and progression?

Lynn: Debts & Lessons took about seven years to write and the book proceeds pretty much chronologically, with the first poem written in 2005 and the last finished in 2012. Given the fact that there are seven poem sequences in the book, I would say I write about one poem (one series) per year. Each time I sit down to write something new it feels like an insurmountable stage and I am plunged into the unknown. I'd like to believe that what I learn comes from my ability to forget. I've always consigned this to be a defect of my intellect, but now that I've lived thirty years with this engine of a mind, I am making an effort to embrace my forgetfulness as a valiant feature of understanding. I am growing, in spite of what I know.

Anis: This is your debut book. Can you talk about particular challenges you faced in putting together this book? What did you learn in this process?

Lynn: The hardest thing was to figure out what a "book" is--that is, what it is to me. I mean: is it a project? An argument? A collection of poems under the aegis of a governing lyric voice? These questions return us to a very basic problem of parts to whole. But the book, as an object in time, exercises its unifying power--indeed, it solicits our synthetic powers to make its existence something comprehensible, consumable in one go. My book does not openly undermine or seek to sabotage the regulative principle of the book as a form--but what I learned in making it, about myself and what I wanted it to be, was that it was simply a pause, a resting point against which to lean the mind's restlessness. I do not conceive of it as a closed object, nor secured against revision and further change. The book should not succeed too successfully, but raise furtive glances amid the dead and living alike.

Anis: What are your most important poetic influences? Both in general, and in particular for this book?

Lynn: This book is not shy about announcing its kin, or what it hallucinates to be its cultural deictics. Names not openly acknowledged, or books I was reading and rereading at this time: Cormac McCarthy (Blood Meridian), Brian Evenson (Dark Property), William Faulkner (Absalom, Absalom!), Walter Benjamin (Arcades Project), Susan Stewart (Poetry and the Fate of the Senses), and various parts of W.G. Sebald.

Anis: I particularly like the section "Lullabies." Could you talk about your favorite poem in this section, and the nature of your dialogue with the poet in question?

Lynn: During our reading tour this last month, the two lullabies I found myself returning to were: the lullaby for Hart Crane and the lullaby for Jules Laforgue. The Hart Crane one still remains a mystery to me--so I won't ruin it for myself by talking about it too deeply. As for the Laforgue, the incantation is not for him alone, but for the undergrowth. I wanted to call to mind a cross-current, wherein the voice that is speaking (whatever it is) cannot but risk it all--that is, subjectivity at the risk of history. Laforgue came to me first through Eliot and his ventriloquy in "Prufrock." I wanted to produce a similar ventriloquism here, but to restore to him (to Laforgue) a fearful intelligence, a promiscuity of absolute embodiment.

Anis: In what particular ways do you think Debts & Lessons is marked by your unique voice?

Lynn: This is a difficult question, not because I do not think my voice unique (since every voice due to the timber and tenor of how one lives is singular), but because Debts and Lessons is so interested in preexisting voices. As a framing device, I am one way in which our relationship to what we read (to the canon, to what we learn and how we come to do what we do) can be read. I must regard the ego as a faceted lens.

Anis: Have you learned things during the composition of this book that you are either determined to repeat or not to repeat?

Lynn: I do not want to lose the exigency of voice, but I do not wish to repeat anything else.

Anis: Can you name a few specific ways your closest readers and/or your publisher helped make this a better book?

Lynn: First of all, it cannot go unsaid that I had the best teachers (Bob Hass, Lyn Hejinian, Geoffrey G. O'Brien, C.D. Wright, Forrest Gander and Keith Waldrop): they were a dream team for my mind. Geoffrey in particular was an incredible reader for the title poem, which in early drafts was in want of a structuring principle. And Rusty Morrison, editor extraordinaire, read through the manuscript with me, poem by poem, over the phone. I cut several lullabies as a result, and rewrote parts of "Debts and Lessons" (the poem). Finally, my husband (poet, translator, and founder of The Canary and Canarium Books, whose being-in-the-world I take to be an antidote to my own) provided an honesty and etiquette of tough-love I could not expect of anyone else. He made this a better book, no doubt about it.

Anis: Who in the contemporary poetry landscape do you think comes closest to the sensibility in this book?

Lynn: Another difficult question. I want to say: everyone and no one--because so much (and perhaps all) of writing is writing-with and writing-alone. I am a big fan of my Canarium co-editors (Nick Twemlow, Robyn Schiff, and Joshua Edwards--his Agonistes poem is something I feel extremely close to, to the point where I sometimes hallucinate its speaking voice) and, in effect, many of our Canarium titles I feel a strong bond with--for example, John Beer's The Waste Land and Other Poems, both collections by Robert Fernandez, We Are Pharaoh and Pink Reef, as well as Ish Klein's Union!--to say the least, in these I find spiritual and lyrical resonance, a balance between historical understanding and self-assertion. Hearing Mary Hickman read recently, I find this dissonance (how to test personal experience against this intellection of objective knowledge) in her ekphrastic poems to be an incredible challenge. This is true for Suzanne Buffam's poems as well as her husband's, Srikanth Reddy, both of whom make the ground rules of epistemology a playground, the clearing of which makes: a life well lived.

Anis: What is your next poetry project?

Lynn: This is a secret! I cannot work unless I have the non-committal reassurance of equal parts experimentation and failure. But I will say that one of the things I am working on is a collaboration with a British (but Paris-based) visual artist, Charlotte Moth, a Canadian architect and film-maker, Rebecca Loewen, and (my very own) husband Joshua Edwards. Also with Joshua Edwards, we are working on a building project with British architect and sculptor Alan Worn, tentatively titled: Notes Toward a House. Finally, I look forward to working with one of my best friends, the artist and poet (and one of the curators of Private Line) Kendra Sullivan; although our discussions remain aquatic at this stage, it is the best possible way.

Anis: What advice do you have for poets trying to make their way in the world of publication and recognition?

Lynn: My sincerest advice (and one which I abide by myself) is: do not let the rat-race lead you astray. Creative work is the work of the spirit, and though the spirit must do its earthly work in its allotted lifetime, remember that its responsibility and conversation is always with a much larger and much more abstract sense of space and time.

Anis Shivani's My Tranquil War and Other Poems has recently been released by NYQ Books. He has just finished a book of sonnets called Soraya. His book The Fifth Lash and Other Stories has also just been published. Look for his novel Karachi Raj in 2013, and a new book of criticism called Literature at the Global Crossroads.

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Paul Stoller: April Is the Cruelest Month

Paul Stoller: April Is the Cruelest Month HPFB.init();
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GET UPDATES FROM Paul Stoller   Like 137 April Is the Cruelest Month Posted: 04/15/2013 4:56 pm Follow   Rick Perry , College Professors , Pat McCrory , Academia , Assessment , Austerity , College News , College Students , Outcomes Assessment , Pat Mccgrory Education , Pat Mccrory Unc , Reslience , Rick Scott Higher Education , Scott Walker Higher Education , College News
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For people in college or university communities, April is the cruelest month. April signals the fast approaching end of the academic year -- papers to complete, exams to take, classroom observations to turn in, evaluations to administer, budgets to compile, proposals to refine and submit. It's a race to the finish line and a time of deep stress.

In the past, university people seemed able to weather cruel April storms. You hunkered down and believed that your considerable efforts would be appreciated. When you huffed and puffed your way across the academic finish line sometime in May, you could look forward to a summer job or to some travel. You might begin a new research project or develop a new course. You might work on an essay or a book. In the fall you'd return energized for the new academic year.

These have long been the rhythms of college life.

Times have changed on our college campuses. There is an increasing lack of respect for the intellectual rhythms of college life. Many elected officials, for example, like to disparage public universities. Narrow-minded governors like Scott Walker, Rick Scott, Rick Perry and North Carolina's Pat McCrory believe that public funds to higher education should go to job-producing technical programs. In other words, they would like to transform public higher education into a set of competitive job-training programs. Such short-sightedness, which grants low-priority to higher education, has resulted in reductions in student support and elimination of academic programs. In public higher education, it has led to an increase in the number of poorly paid -- and poorly treated -- temporary faculty and a concomitant decrease in the population of tenured professors. These trends threaten to transform, if not destroy, a system of higher education that has been the envy of the world.

Although mindless budget cutting, misguided austerity and anti-intellectual political posturing pose serious external threats to the future of college life, there are also internally generated threats. These threats, which may well be partially stimulated by widespread derision of "intellectuals," sometimes emerge from an administrative distrust -- and disrespect -- of faculty competence.

In case there are readers who think I am overstating the case, consider the ever-present issue of outcomes assessment -- measuring student performance. For several years now, college faculty members have been compelled to spend more and more time preparing documents -- mission statements, and assessment measurements -- to determine if students are successfully mastering the course materials in their classes. These tasks, of course, take precious time away from course preparation, research, writing and thinking -- the real substance of life on our campuses.

In a commentary in the Chronicle of Higher Education on March 11 of this year, Steven Hales, a professor of philosophy, chimed in on outcomes assessment. He wrote:

Outcomes assessment is an epistemological quagmire, a problem unnoticed by many of the practice's strongest advocates. Here's why. Faculty members assign grades to students at the end of every course. Either (1) we know that on the whole those grades accurately measure the degree to which a student has mastered the course material and achieved the objectives of the course, or (2) we do not know. The very idea of outcomes assessment is predicated on Option 2...

According to Professor Hales, then, assessment assessors don't believe that grades sufficiently measure student outcomes, which means that they have put into the practice a convoluted set of instrument designs and procedures to measure "real student success." Grading is certainly not a perfect instrument to measure "outcomes," but to distrust it's validity is rather insulting to those who teach the courses, design the exams, read the research papers, and assign the grades. Do I need an outcomes assessor to tell me that a student who writes a poorly researched essay should or should not get a failing grade? Is that failing grade not an indicator of student mastery of the subject matter?

If you have been a college professor for more than 10, 20 or 30 years, how would you feel if an assessor, who holds the power of "program revision" (potential reduction or elimination for poor outcome measures) over your head, sent you a list of words to use to develop outcomes assessment tools?

Several months ago, I received such a list: "Terms to use to articulate learning outcomes: what students will be able to do or think." Here's a small sample. Under the heading of Remember you are asked to use words like "describe," discuss," "classify," and "recognize." Under the heading of Apply they recommend using words like "change," "construct," "manipulate, and "prepare." Under the heading of Understand they suggest using words like "comprehend," "defend," "explain," and "exemplify."

Such a list reinforces the perception that (1) faculty grades are not good measures of student performance and (2) professors lack the linguistic wherewithal to pick the correct "terms" to measure student performance. What kind of message does this send to those of us who have dedicated our lives to research, writing, thinking and teaching?

Sadly, these external and internal threats to the intellectual climate on our campuses seem to reinforce the destructive idiom: "Those who can, do. Those who can't, teach." If we don't value and support the dedication, competence and expertise of college professors -- tenured and non-tenured, permanent and temporary -- the quality of intellectual life on our campuses will precipitously decline -- a very dear price to pay when our goal is to prepare students, who represent the future, to think in and adapt to a complex and changing world.

April is the cruelest month. The headwinds we face are very stiff. As we move forward to a new academic year, we'll need to be persistent and resilient to slow the erosion of intellectual life on campus.

 

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