Blog number 3:  Dinner, a movie, a cook, a cook, a poet—and always, love

 

Dinner and a movie.  Julie & Julia.  I loved Mama Mia, that’s all I will say, love.  Perhaps I shouldn’t have gone to a 10:55 showing or eaten steak and baked potato and, then, popcorn with lots of butter and salt.  Others, I hear, loved the movie.  I loved going to a movie, being in a theatre, having someone sit next to me (if only an ex/or especially an ex), instead of my usual popcorn and DVD at home in my rocking chair, alone but for my grandsons’ stuffed dogs gracing my living room.

 

Seeing a current movie gives me something to talk about, to write about.  A writer’s prompt.  Cooks and writers, both artists for sure.  I understand working for a public agency, don’t many artists inhabit the cubicles of many a federal or state agency? I am fortunate, I work with other artists in my role as “program associate” and, unlike, perhaps others, my work, however trivial and routine, is work spirited in the arts and I do feel blessed to be in the realm of women and men who want to create, who for them creativity is not always just about pleasure, but it’s a necessity.  (Also, I might add, I am blessed with an office and a window—the fourth room I’ve occupied in the eight years I’ve been at the University. but yes, my first two rooms were cubes.)

 

Where was I?  Julie & Julia.  Julia, bored, wanting something to do, wanting to be someone, blessed with a supportive and loving husband.  Julie, bored (maybe), wanting something to do, wanting to be someone, blessed with a supportive and loving husband.  Julia, it seemed, could afford to do something, become someone—spend eight years working toward publication.  Julie, however, how did she manage to work fulltime, cook every evening in a cramped, small as a cardboard box, kitchen, and blog!  524 meals in 365 days!  How did she afford the ingredients for all 524 recipes (and why didn’t any of them gain weight)?

 

How does an author write without a room of her own (what did Virginia Woolf write about A Room of One’s Own)?  I think we need space.  Space to empty monkey mind.  Space away from “have to do’s” and doing.  But, like Julie, I think we writers can write in a cramped kitchen, at a dining room table, or at our desk at work during our lunch hour or breaks—if, we have had the space beforehand to contemplate, and murmur sweet or sour, hot or cold delicacies.

 

I admire Julie’s perseverance, and as a writer, I can learn from her.  What motivated her?  What fortified her?  How did she handle set backs and criticism by family and friends?  I admire and I’m challenged by Julie’s day-to-day productiveness, and the success of accomplishing her goal.  However, I’m not challenged enough to say, I can do it, or even I want to do it—I want to write 524 poems in a year (why 524 and not 365)! 

 

There are online challenges where writers write a 30,000 word novel in 30 days (or some such challenge), and poets have been known to write a poem a day—but for how many days?  As for me, a poet, the last thing I need is a deadline.  Writing deadlines, for me, equal anxiety, and, yes, sometimes fear.  Writers’ block!  (However, as a worker bee, deadlines are sweet and savory.  Deadlines, for me, help me get a job done.  A job done is something my self-esteem can stick to.)

 

I am committed to posting blogs.  I am not committed to posting something every day.  Perhaps a cook has the stamina to cook something yummy every day.  There is always the satisfaction of someone tasting the beef, even if it is only the cook herself.  A meal cooked and eaten.  However, with a poem, like Julie’s burnt stew, I might want to start over.  Throw out everything except the basic ingredients—the subject and knowledge of the craft.  I might not want my raw poems consumed.  

 

I am a loner.  No supportive husband in the background waiting to dine.  Aha!  Perhaps that should be my motivation.  My subject is love.  An alternative to online dating.  Love poems—to anyone, to everyone.  One a day.  Maybe I should rev it up.  Two or three a day.  What would it take to find the lover who will hunker patiently, waiting to consume—my words?

 

Here’s the challenge.  Make love noble, global.  Make love make a difference.  Make love a poem.   Make it green—or red, or purple.  Let love save us.  The day after 9/11 I visited my local dry cleaner.  I said to the owner, kissing him with words, I said there is nothing left now but love, nothing but love.  I embrace that thought questioning why there are times the world comes together (times of illness, of disaster, of death)—and love rules; and there are times love is so absent I must cover my ears because the noise of the lack of love is so painful, so sad, so not understandable.

 

I believe in love.  I believe it like I believe in miracles.  Love is a miracle.  Here is a love poem for today, first draft, no revision.  But, I don’t promise another one tomorrow.

 

Summer has sent chills

down

my

back I want water

crave fluidity

listen for sound like wind

wandering through trees, yet

wet             weekends not enough

to escape from sheet rock and nails

I want sun sizzling, crackling like wounded

cement, my view of night.  Darkness

awakens me, memory of seasons

I could afford to be happy.

 

Sherry Quan Lee

August 24, 2009

Posted by Sherry - 26/08/09 - 3 comments

 

 

RE-VISIONING:  blog entry #2

 
By now, everyone who read my first blog entry has said, I’ve heard it before or s/he has now written his/her first poem!  Nevertheless, to continue the discussion on how to make the poem better, let it be known, I enjoy revising.

 

However, a friend once said I have the habit of revising the life out of my writing.   Basically she said she would rather see my passion ignite, my story explode, than crafty line breaks or intellectual word choices spark the page.  Okay, both would be preferable, but I shouldn’t lose the one for the other.

 

I try not to obsess as I revise.  Mantra:  balance, moderation, know when to say no.

However,

some amount of tweaking is commendable.  Tweaking should make the writing most engaging, most meaningful—and it will look good, too!

 

Here’s an interesting exercise which actually led to an unorthodox poem, or maybe a very orthodox one (who knows, once I was told my non/linear essay was not good—however I wasn’t writing or trying to write a non/linear essay-thus, my linear essay must have been truly meritless).

 

One of the love poems I’ve written, and a possible highlight of my Imagine Love manuscript, became an exercise in permanency versus my usual living and writing in the moment don’t save everything I write, trash drafts/no one is going to pay me or any living relative, if I happen to be dead, hundreds of thousands of dollars to have every scratch of my paper in their library demeanor (however my sister is saving much of what I write). 

 

This love poem wanted to be visible in all its fluidity (the more I write or say the word love, perhaps the better chance I will soon experience it).  This poem said: don’t eliminate parts of me you (me the author) don’t like.  This poem said: glorify my past, my present, and if you can figure a way to do it—my future.  Thus, nothing was discarded.

 

This is the poem:

 

Enough!

she said, but how to mean know enough

enough to move redirect intention; live loneliness

majestically with/out the bumps and bruises

Hold on, hold out, hunger hunker low, reject desire the hunger.

                                                                       *

 Wwait.  Seize memory.  Trust intuition

             he likes you okay you’re beautiful

            okay he’s reaching for you okay

            he’s afraid okay he’s being practical

            okay this is what comfort can

            look like okay

                                     *

 How to know time exists beyond identity, that

love can wait and love can wait and love

             online dating

                        even white women want white women

                         or whores

                         white men want white women or

                         whores Asian generally

                        doesn’t matter

                         (never mattered who My Chinese daddy is)

                         Mama is black Negro and told me and told me

                        yes and no

                                     *

How to recognize mistake from myth, assume guilt

until proven innocence, how many have loved and

lost her

                        you’re white, she said, you’re

                        a man, she said, Catholic, Republican, camper, kayaker,

                        beautiful   narcissistic  she said,

                        don’t want you she said

                         but, she said, Mr. Brown, quit messin’ with me!          

 She said, can I wait, I can wait, can I, why wait, who else has to wait, I’m tired of wanting

to wait

                                                *

 It’s been awhile since I read this poem.  I hear a cry for further re-visioning.  And, maybe I should date each change to show the poem’s journey over a long period of time.  Ahhhhhhhhhh.  Much to consider.  (I see a page so dense in double strike-throughs, the poem disappears.  Maybe I should become a visual artist.)

 Try it.  Write a poem today. Watch it evolve over days, months, maybe even years.  But keep the poem in its entirety.  Let it live!

 

Sherry Quan Lee

August 19, 2009

Posted by Sherry - 19/08/09 - 3 comments

 

 

LOVE, Pass it on………or how to write a (love) poem.

 

My friend Ann teaches me a lot (never use the word a lot, it is basically meaningless I’ve been told and I’ve told others, but I still can’t help but use it sometimes because really, sometimes it IS specific enough) about things I seldom pay attention to.  Although I love music, R & B, C & W, Rock and Roll, Jazz, etc. I only know what I know.  Although, when I posted Ann’s post to others I post to, I received responses like, oh yeah, love Michael Franti!  Where have I been?

 

 

Wherever you are, whatever sorrows or worries lie in your heart, whatever your struggle, this video, this music will bring a smile to your face and beats to move your body closer to the light. This was sent to me during a time of struggle from my friend Lynette. Now I share it with you. Peace, love, and light. (Ann)



Michael Franti and Spearhead : Say Hey Music Video


Posted By Dancing Diva to Embrace Your Age Cause You’re Living! at 8/10/2009 09:12:00 PM

 

Ann, thank you not only for sharing Franti’s video, but thanks for reminding me I have a blog and I wanted to post something, something about love. Post it sooner than later.  Before the cobwebs set in and rust.  Love is the topic of my next book:  Love Imagined.

Here’s an idea.  Recently, Karim Khan, editor of the new “Recovering the
Self” literary journal, asked for poetry submissions (check out the new journal at http://www.recoveringself.com/about/).  A friend replied she didn’t, as of yet, know how to write poetry.  I’ve been thinking about her response and thought I would share an assignment I often use when I teach writing workshops for beginning writers.  And, to stay in the moment, let’s write about love. 

A note about this assignment.  I don’t know who originally came up with this idea, but I do remember the assignment I read about was used as a revision tool.  However, I flipped the assignment around to use it as a “triggering” tool (The Triggering Town by Richard Hugo, my favorite teaching book about poetry, thanks to David Mura who taught from it).

Assignment.  Use the “triggering” subject “love” and write a paragraph or two or a page or two or several journal entries.  See what direction “love” takes you.  Love is rather abstract (at least my many experiences with “love” haven’t rendered much in the way of concreteness only so so affairs) so write beyond love to where “love” leads you.  You might be surprised, it might not be the bedroom.  It might be the forest or the kitchen, or the golf course (though I’m quite sure no poem of mine will end up at the eighteenth hole; but never say never).  The point is, we don’t always know what it is we really want to write about until we start writing.  The point is not to control our writing by gluing ourselves to a particular topic.  The point is to start with A and move towards Z, unconsciously, in the moment, letting go.  Don’t fear senselessness.  Senseless meandering can end up making quite a bit of sense.

 

Back to the assignment.  Just write some (another abstract word, some, but it works here because I am not going to tell you specifically how many words to write) prose about love.  If stuck, write a letter.  A love letter.  Write it quickly, don’t worry about perfect, there is no perfect, and if there was perfect the poem would end with predictably and it wouldn’t leave room for surprise!

Top of my head:

Dear Two Year Old Ethan,

This is a note from your crazy grandmother.  I wanted to write something to you while you are still young, something that will document a grandmother’s love.  It’s the most amazing phenomena to watch you learn and do new things.  Throwing kisses, stomping your feet in the water.  Pointing.  Even throwing your food.  You are so much your father, my son, and so much your mother, my daughter-in-law; but, you are so much me, too.  I can’t teach you to swim or do math, but I can teach you to have fun, and maybe I can teach you how to write a poem.  You have the heart for it.  We all do.  Everyone should write heart to heart poems.  Everyone should write love poems.  Everyone should love.

Love,

Grandma Sherry

Line Breaks.  But, I said the assignment was to write a poem.  Okay, so here goes.  Poetry, amongst many things, is about language, rhythm, sound, etc.  This is partly accomplished by “line breaks”—so break the lines.  I like to go with gut feeling, but one thing to think about when breaking lines is: important words work well at the beginning and end of a line (for emphasis).

A note about gut feeling.  I teach there are no rules, no right or wrong for writing poetry. Unfortunately that’s what students hear me say.  I don’t mean it quite that literally. “Free verse” forefathers/foremothers showed us, free verse isn’t free from rules, but the writer gets to choose the rules s/he wants to abide by.  Heck, I don’t like the word “rules” at all. X out rules.  Let’s just make our work the best we can.  And the best way to do that is to keep writing.  Eventually our instinct will tell us what’s working well.  But, there has to be some memory, some knowledge of what we like and why we like it. What works/what doesn’t.  Why?  Why not? And we can’t know that unless we read or listen to other poetry/other poets. 

This “/” indicates a line break.

Dear Two Year Old Ethan,

This is a note from your crazy  / grandmother.  I wanted to write / something to you while you / are still young, something / that will document a grandmother’s /love.  It’s the most amazing phenomena / to watch you learn and do new things.  / Throwing kisses, / stomping your feet in the water. /  Pointing.  Even / throwing your food.  You are / so much your father, my son, and /so much your mother, my daughter-in-law; but, / you are so much me, too. / I can’t teach you to swim or / do math, but I can teach you to have fun, and / maybe I can teach you /  how to write a poem.  You have the heart / for it.  We all do.  Everyone / should write heart to heart poems. /  Everyone should write love poems.  / Everyone should love.

Love,

Grandma Sherry

So, now the fun begins.  And I do mean fun.  I love picking and choosing what words to omit.  Yes, we have to clean up, tighten up our poem, throw out the stale dishwater. 

Dear Two Year Old Ethan,

This is a note from your crazy

 grandmother.  I wanted to write

something to you while you

are still young, something

that will document a grandmother’s

love.  It’s the most amazing phenomena

to watch you learn and do new things.

Throwing kisses,

stomping your feet in the water

Pointing.  Even

throwing your food.  You are

so much your father, my son, and

so much your mother, my daughter-in-law; but,

you are so much me, too.

I can’t teach you to swim or

do math, but I can teach you to have fun, and

maybe I can teach you

how to write a poem.  You have the heart for it.  We all do.  Everyone

should write heart to heart poems.

 Everyone should write love poems. 

Everyone should love.

Love,

Grandma Sherry

Word Choice.  And, more revisions.   Now you have the heart of the poem cut/excerpted from your letter.  You’re ready to further revise: change words—what word would work better, be fresher, be more specific, add meaning or tone?  Lines, do you want to move some around—maybe the ending is the beginning (of a sentence/of the entire poem).  More words to eliminate?  Line breaks not quite working, change them.  Work it.

Dear Two Year Old Ethan

from your crazy

 grandmother offers

while you

are still young, something

that will document a grandmother’s

love.  Loving It’s amazing

watching to watch you learn and do new things.

Throwing kisses,

stomping your feet Pointing.  Even

throwing your food.  You are

so much your father and

so much your mother but, aha

you are grandma so much me, too.

Grandma I can’t teach you to swim or

do math play hockey, or even bake a cake, but  

I can teach you how to write a poem.  You have

the heart for it.  We all do.  Everyone

should write heart to heart poems.  Everyone

should write love poems.  Everyone should love.

Love,

Grandma Sherry

Almost done creating a poem.  Don’t forget the title. I love titles.  I almost always start out with a title.  Often, the title I start out with it not the title I end up with.  Consider, Dear Two Year Old Ethan as the starting out with title. What could the end title be?

 

Dear Grandson,

your crazy

 grandmother offers

a grandmother’s

love.  Loving watching you

Throw kisses, stomp your feet, pointing. Throw your food. 

You are

so much your father and so much your mother but, aha

you are grandma too.

Grandma can’t teach you to swim or play hockey, or even bake a cake, but  

I can teach you how to write a poem.  You have the heart for it,

heart to heart poems.  Everyone should write love poems. 

Everyone should love.

Love,

Grandma

Notice how I changed more line breaks, even indented a line, made some lines longer, some shorter.  Each decision you make in revising your poem has meaning.  For example, a period gives you a long pause, longer than a comma which still gives you a pause.  No punctuation gets you from one line to the next with hardly a breath, or through a line as if the poem needs to hurry.  Hurry or slow.  You, the writer can make it happen.

Wow.  I’ve over extended my lunch hour.  Will have to stay late to make up the time.  But, you can’t interrupt creativity. 

The good thing is, no more time to edit this blog or my Dear Ethan poem.  I’m just going to let go and send—sometimes the only way to get things done.

Sherry Quan Lee

August 11, 2009

Posted by Sherry - 11/08/09 - 2 comments

 

Excerpt from Interview:

Ernest:

For you, and some other writers including myself, writing saves lives. And How to Write a Suicide Note is persistent on this point. One poem in the book specifically indicates [Because] Writing Saves Lives. Since you also teach writing, did you ever include writing as therapy in your lessons?

Sherry:

I taught a workshop Writing to Save Your Life, an interdisciplinary workshop for Women of Color. Some of the students from that workshop continue to write and share their stories. One of the students later taught a similar workshop, and she and another writer in her workshop (which I co-facilitated) are now managing the blog I started in conjunction with the first workshop! So, yes, in my classes, I introduce my belief that writing can save lives. However, writing as ‘therapy’ connotes something different for me:  it conjures a feeling that we need to be fixed. Instead, isn’t it the world that needs to be fixed? We must keep ourselves alive! Keep our stories alive! So together we can make a difference. I believe writing can be a necessary part of therapy, but therapy needs to be facilitated by professionals. While there are professional art therapists—I am not one.

There are many women of color writers who have saved my life. Their stories familiar-the anger, the pain, the confusion, the loneliness, the abuse, the struggle, the triumph, the beauty, the passion, the creativity, and the love. I use the work of other writers such as Jungian therapist Clarissa Pinkola Estés as well as my own writing, as writing prompts. I encourage students to write the often very difficult stories that allow them to let go of what needs to be let go of, in order to keep going!   Here’s a quote from Estés that I find inspiring:

“Creativity is not a solitary movement. That is its power. Whatever is touched by it, whoever hears it, sees it, senses it, knows it, is fed. That is why beholding someone else’s creative word, image, idea, fills us up, inspires us to our own creative work. A single creative act has the potential to feed a continent. One creative act can cause a torrent to break through stone”? (Women Who Run With Wolves, Ballantine Books, 1992, page 299)

I will never forget the angel I met at a Split Rock writing workshop. After introductions and at the end of the class she came up to me and asked if I was the Sherry Quan Lee that had read at the Loft some seven or eight years before. She went on to recite some lines from my poems! We might never know when we have touched someone’s life with our words, but our words can be transformative!  I keep some of the letters and notes from people whose lives I have touched. It is not narcissistic. It’s what I return to when I wonder what my purpose in life is. When I wonder if my life/my writing matters.  When I’m feeling low down. The kind words others have written to me save my life time and time again.

In Shay Youngblood’s Black Girl in Paris (Riverhead, 2000), Eden says:

“…and between my tears words began to bloom on the page, one after the other. Words crowded each other, trying to lead me out of despair. I was exuberant. The maps I’d made were guides to my interior. I remembered all the places I’d been, all the things I’d seen, and I caught them in my imagination. Jimmy was with me and Langston too. I wrote to understand where I had been, where I was going, to make sense of the world that had led me to the small room on the edge of the abyss.”

Writing by colorful women writers has kept me alive, along with my own writing. Writers like Audrey Lorde, Joy Harjo, Evelina Galang, Toi Derricotte, Nikki Giovanni, Cherrie Moraga, Gloria Anzaldúa, Wang Ping, Linda Hogan, Theresa Hak Kyung Cha, Eden Torres, bell hooks, Maxine Hong Kingston, Alice Walker, Toni Morrison, Ana Castillo, and others have given me the courage to discover who I am as I continue to map my life through writing.

Posted by Sherry - 06/08/09 - 0 comments

 

 

 

 

AND YET ANOTHER BLOG 

 

I am Sherry Quan Lee, writer, poet, author, Chinese/Blackbird.  You can read about me on my Web site at www.sherryquanlee.com.

 

Victor Volkman, Loving Healing Press, set me up with a blog site and now it’s up to me to blab. 

 

For me, writing is difficult.  I have been invisible for most of my life, so what I write puts a face to me, dresses me up, shows all of who I am good and bad, wild and stoic, angry and calm, hot babe (LOL.  For the longest time I thought LOL meant lots of love. Yes, I was disappointed to find out it meant lots of laughter.) and cool grandma.  As a writer I allow myself to be vulnerable, to be brave to be intensely honest.  It is difficult because I am afraid that who I am and what and how I write will conjure criticism.

 

Well, of course, indeed, writers write to be read. Even closet writers look for approval, don’t they?  Even disapproval, although annoying, can give us a prompt to write some more, to defend or explain what may not have been understood first time around.

 

Of course the most feared criticism is but ya can’t write.  I’ve heard that one before.  So I revise and revise and revise until my work is lifeless and so am I—limp, dull, boring.

 

Thus, although I tend to think I’m not controlling, it is with much reluctance that I let go of a first or second draft and recklessly fling it into cyber space.  Not prime characteristics for a blogger.  When I administered the Women of Color:  writing blog, I was able to manage a message every three or four months at the most.

 

So, why am I attempting to blog again?  I have a lot to say.  The more one writes the better their writing.  No one will talk to me! so I’ll talk to you, whomever you are.  And…..

 

I am blogging because my publisher, Victor, is the wizard of marketing and if I only follow through on one of the hundreds of marketing suggestions he has made, I will feel like I’ve discovered the key to the kingdom.  Though, for me it’s not so much about selling books; however, I would love to honor Loving Healing Press with a few sales. 

 

Me, I’m on a mission.  I wrote a book about how writing saved my life.  I believe it has, literally and metaphorically.  Blogging will be an avenue for me to share my writing philosophy (like identity, it can change over time), and to share my writing, even my writing in progress, as it progresses.  And to share wisdom I’ve collected from other writers (and family and friends). 

 

You say, yet another writing blog by a writer for writers blah blah blah blah.  Maybe.  But, hopefully I will use all of the creative and spiritual power within me to keep this site lively and engaging, and maybe even valuable.

 

Sherry

First Draft/No Revisions (okay, I did the spell check, but I didn’t stop to contemplate “whomever” or “whoever”)

August 3, 2009

 

 

Posted by Sherry - 03/08/09 - 1 comment

 

Only the written word saves when all else fails, July 30, 2009

How to Write a Suicide Note: serial essays that saved a woman’s life

Desperation in shifting waves of rhythm; hope in scuttling across consciousness of living; rolling in the distance between self and the outside; a poetical delirium giving out vibes of bitter truth and sweet resilience – there is so much of substance in Sherry Quan Lee’s poetry titled How to Write a Suicide Note (Modern History Press, 2008) that one may assert it as a crash course in the impact of growing up as a woman and as an ethnic minority in a multicultural society.

For its title, Lee’s book stands in danger of rousing fear or concern, sounding like an offer of assistance in passing to the other side – the dreaded one. But thanks to the subtitle serial essays that saved a woman’s life, which gives a hint of the book’s greater purpose. And yet, it takes a while before an average reader can come to terms with Lee’s desultoriness so profusely showing in each page of her verse like a medium catching vibes from multiple dimensions and conveying them in a somewhat unsorted pattern. Persistence and concentration on behalf of the reader brings joy and depth to Lee’s message, interwoven with her personal story, cultural critique, and philosophical/existential interpretation of life experiences.

Lee’s poetry in How to Write a Suicide Note is one of the few that probe into the origin of emotional trauma as something beyond the individual; living as a Black-Chinese woman in a white-dominated society, her status as a woman of a minority class culturally pressured her into becoming (and acting) someone she really was not; hence, the pain of deprivation from the natural right of self-expression. For Lee, it is a historical trauma traveling through the medium of culture with individuals at the receiving end. What is purely individual, however, is her artistic fluidity with which she creates palpable imagery and brings spontaneity to the thought prevalent in the moment:

`I smoke wearing fleeced gloves. Smoke hangs in the air like
frigid poems burning holes in hands that need to write
suicide notes…’ (page 9)

In several poems, Lee points to the therapeutic effect of writing as a life-saving habit. Writing suicide notes in her verse symbolizes the involvement with life even when the straw of hope is not in reach; she shows that our thinking about life, about writing about it, and actually coming back to life through the written work, are all saviors of life. Only the written word saves when all else fails before the trauma of a scarred identity. And it is so tersely put in one of her poems Because Writing Saves Lives:

`When you can, write
When you can’t live.
When you can’t live, write.’ (page 16)

Reckoned as the first (and only) poetry book by the Modern History Press – as the publisher found its message so irresistibly revealing, and one of the very first books about living as a Black-Chinese woman in America, How to Write a Suicide Note is a unique read, full of life, and throbbing with the will to live again as a person out of the reach of trauma.

Posted by Victor Volkman - 01/08/09 - 0 comments