Tag Archives: Tupelo Press

How Do You Like Your Art–Fixed or Unfixed?

For years, it didn’t occur to me that art could be other than how I knew it: something tangible that existed in a (hopefully) permanent form so that the art appreciator could go back again and again and drink at its well.

I learned that I could have a different reaction at different times, but that the art itself was the same–only I had changed. Or its context had changed.

At the Chicago Art Institute my favorite painting was Caillebotte’s “Paris, A Rainy Day.” Anytime I visited Chicago I could go to the gallery and see it again.

from Wikipedia

from Wikipedia

At six, I fell in love with Tchiakovsky’s “Sleeping Beauty Waltz,” probably because I knew it from Disney–having seen the movie before I turned four–and when my mother bought me the classical album, I even carried it to first grade class for show and tell. I fell asleep every night to the entire symphony for quite awhile.

There is a difference between the Caillebotte and the Tchiakovsky beyond art form. The Caillebotte is a fixed art form. Unchangeable. The Tchiakovsky is, as well, except that it can be varied upon because every time a new symphony performs it, something might change. I still consider this a fairly fixed form, though, because I am unlikely to notice the differences. It takes a lot of musical education to know.

The ultimate fixed form, to my mind, is the book. It’s unlikely to change and, unlike art, which draws part of its meaning from its setting in a gallery or on a street corner, a book is the same around the world. As a writer, I like the fixed nature of the art I work in. It suits my hoarding, controlling nature.

I was interested in theatre and dance from a very young age, even writing and directing little plays for the neighborhood kids and my classmates. I created puppet theatres with, wait for it, dolls, of course. But I never stopped to think about this form of art.  Is it fixed, especially after the play script is written, or is it unfixed because there are so many variables–actors, directors, costumes, sets, props, technical crew, and even errors change the art. The audience has the ability to change it.

When my daughter fell head first into the performing arts, I shapeshifted into one of those crazy dance moms running around with a video camera, always wanting to record her performances, even tech rehearsal, because I had grown up thinking art must be captured to exist. If my daughter danced and it wasn’t recorded, had she really created art?

Then I read and began to teach Leslie Marmon Silko’s novel Ceremony about a half Laguna Pueblo / half white WWII veteran with PTSD. There is a very important scene where Tayo visits a Navajo medicine man for a cure. The ritual involves the creation of a white corn sand painting. The shocker for me was that the painting is erased. Yes, erased. The purpose is in the making, not in the hanging onto it. When you think about it, this is a much more spiritual response to art because it takes the need to control out of the picture. It is not goal or perfection oriented.

When I researched the sand paintings, I discovered that the notion of saving our art, rather than erasing or letting it change over time naturally (like the poems of balladeers), is culturally based. It even intrigued me when I finally read about elephants creating art (I’ve written about that before when I talked about the book When Elephants Weep) that they create and then erase. Of course, they do: humans, not elephants, are ridiculous hoarders. But it doesn’t have to be this way. Or does our culture demand it?

Maybe not. Look at performance art. Poetry slams. Improv shows. “The Million Line Poem” by Tupelo Press. Even New York theatre is reaching out to the audience to participate in many plays. Is this a fad that can’t survive? After all, the sand painting survived as art process because it was a ritualized part of the life of a people. Without this broader context for unfixed art, can these art forms survive?

Another reason we might be stuck with mainly fixed art: iPhones and other technology. Did you hear about an audience member setting up a video camera on a tripod to record Adele’s concert? She was pissed and chastised the person. But it’s a losing battle. No venue can police an entire audience–and what kind of relationship would that produce?

What about your tastes? Do you prefer your art fixed, like books and paintings, or unfixed, like ice sculptures? Or do you prefer something in between–a known script in a new production, a live concert of your favorite band’s best songs?

 

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Filed under #AmWriting, Art and Music, Essay, Nonfiction, Writing, Writing Talk

Day 30 of Tupelo Press 30/30 Project: Where Did It Go? #poetry

DAY 30

LAST DAY OF THE 30/30 PROJECT FOR ME!!

Reminding you that I will be taking down these 30 posts in the very near future :).  Maybe you’ll see them in the future in some other form or “location.”

 

 

This post has been EDITED. The disappearance of that last poem: a mystery. It went the way of the other September poems–back into my writing box.

 

If you have enjoyed reading these one day poems, you might like my book Doll God where the poems have had a little more time coming into the world. It’s now a Finalist in the New Mexico-Arizona Book Awards!!!

 

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The 30/30 Challenge of Tupelo Press, and How I Proved I Have a Screw Loose

I’ve gone and done it. I must be crazy.

Throughout September, I will be “running” a poetry “marathon” for the Tupelo Press 30/30 project. By donating in recognition of my efforts, you will be supporting a fabulous independent, nonprofit press.

I promise to write a poem a day for 30 days. Since it took me decades to cough up not even twice that for my first poetry collection Doll God, you can see what a feat I am trying to accomplish.

To help preserve poetry as an art, it’s important to support the independent presses and literary magazines. These are the places that publish nearly all published poetry today. It hasn’t been a positive era for them. I’ve seen many lit magazines close up—and when the presses go out of business, we often don’t even hear about it.

Every dollar you donate will go toward the operation of the press, enabling it to continue publishing beautiful books that would not get picked up by large commercial publishers. You can read the daily poems, as well as the bios of this month’s poets, and donate here.

As incentives to donate, I am offering the following:

  • For a donation of $10, you tell me what subject or image you want to see in a poem, and I’ll write that poem.
  • For a donation of $20, I will dedicate a poem to you or someone of your choice.
  • For a donation of $40, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God.
  • For a donation of $55, I will send you or someone of your choice, a signed and personally addressed copy of my book, Doll God, and I will dedicate a poem to you or someone of your choice.
  • For a donation of $100, you get two copies of Doll God and two dedications!
  • Remember that if you donate $129 for a Tupelo Press subscription, you will receive the 10 free books of their current series.

For any of the above donations, including the subscription of 10 books, please remember to click or write my name in the honor field. Then email me at luannecastle@gmail.com and let me know what dedication or subject you are interested in. If you “earned” a copy or two of Doll God, please give me your mailing address and to whom you would like the book(s) addressed.

Again, you can read the daily poems, as well as the bios of this month’s poets, and donate here.

If you decide to help keep Tupelo Press publishing its amazing variety of books, THANK YOU THANK YOU THANK YOU!!!!

Wish me well, please. It starts tomorrow, and I’m nervous as can be!

 

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If you are not able to donate, the other poets and I would still love for you to read our first draft work. I love feedback. Every day, I will post a link to that day’s poem over here so feel free to critique or pat me on the back (or the head, if you think that is more appropriate after reading the poem), encourage me, tell me what you like or what you don’t like. Or tell me a funny story or something completely unrelated that the poem reminded you of ;). Or just say hi in your own incomparable way so that I remember there is a world outside poetry. Gonna be an intense month!

One more thing: by November 1, I plan to take down all September’s 30/30 posts.

That’s us poets in the photo 😉

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