Nine good minutes of your day can be spent listening to Jason Mraz talking about songwriting and creativity and then hearing him perform, "I'm Yours."
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Showing posts with label creativity. Show all posts
Showing posts with label creativity. Show all posts
Monday, June 28, 2021
Wednesday, November 6, 2019
Creativity and Living the Metaphor
{The following essay was first published in November of 2018 under the title, "On Spiritual Practice, Poetry, and the Inadequacy of Language"
I am currently reading one of the most exciting books I have read in a long time, Sophia: The Hidden Christ of Thomas Merton by Christopher Pramuk. I found out about the book while I was reading Merton's poem, "Hagia Sophia." The book touches upon many of my own interests. I could try to tell you about it but instead I will refer you to a review of the book by Catholic priest and peace/environmental advocate, John Dear in an article for the National Catholic Reporter, "Living our theology with Merton's feminine image of God."
The Witness of Abraham Heschel
I recently read a passage in Sophia: The Hidden Christ of Thomas Merton in which the author is quoting Rabbi Abraham Heschel. I found Heschel’s words to ring true from my experience as they may to some of you who are involved in a spiritual practice. The writing is dated in that he uses “man” where current writers would use “humans,” or “humanity,” but he captures very well the moments in prayer when words fail to convey experience. While that concept is nothing new, Heschel takes that experience itself, that state which the spiritual practitioner finds unutterable, and reveals how it can further nurture our being as “the nursery of our soul, the cradle of all our ideas.”
Along a parallel vein, and somewhat related, I serendipitously came across an essay that speaks of how the poetic imagination can attempt to convey those higher aspects of reality that might otherwise defy description due to the inadequacy of language. The article, “John Keats and the Need for a New Renaissance in Poetry,” addresses trends in poetry and brings to the forefront the difference in Keats’ approach to poetry compared to other Romantic poets such as William Wordsworth.
I am currently reading one of the most exciting books I have read in a long time, Sophia: The Hidden Christ of Thomas Merton by Christopher Pramuk. I found out about the book while I was reading Merton's poem, "Hagia Sophia." The book touches upon many of my own interests. I could try to tell you about it but instead I will refer you to a review of the book by Catholic priest and peace/environmental advocate, John Dear in an article for the National Catholic Reporter, "Living our theology with Merton's feminine image of God." The Witness of Abraham Heschel
“In no other act does man experience so often the disparity between the desire for expression and the means of expression as in prayer. The inadequacy of the means at our disposal appears so tangible, so tragic, that one feels it a grace to be able to give oneself up to music, to a tone, to a song, to a chant. The wave of a song carries the soul to heights which utterable meanings can never reach. Such abandonment is no escape, nor an act of being unfaithful to the mind. For the world of unutterable meanings is the nursery of the soul, the cradle of all our ideas. It is not an escape but a return to one’s origins.
“What the word can no longer yield, man achieves through the fullness of his powerlessness. The deeper the need in which one is placed through this powerlessness, the more does man reveal himself in his essence, and himself becomes expression. Prayer is more than communication, and man is more than the word. Should we feel ashamed by our inability to utter what we bear in our hearts? God loves what is left over at the bottom of the heart and cannot be expressed in words…The unutterable surplus of what we feel, the sentiments that we are unable to put into words are our payment in kind to God.”
(From Man’s Quest for God by Abraham Heschel)
The Witness of John Keats
Along a parallel vein, and somewhat related, I serendipitously came across an essay that speaks of how the poetic imagination can attempt to convey those higher aspects of reality that might otherwise defy description due to the inadequacy of language. The article, “John Keats and the Need for a New Renaissance in Poetry,” addresses trends in poetry and brings to the forefront the difference in Keats’ approach to poetry compared to other Romantic poets such as William Wordsworth.
Wordsworth, for example, was intent upon describing the world that is known through the five senses. He admittedly avoided the abstract. His purpose was to bring the reader into an experience of the beauty of the world, to allow a full appreciation of the experience of being alive. Keats, on the other hand, saw how inadequate mere descriptions of the physical world are, no matter how beautiful the words, in conveying an experience of higher awareness.
Keats’ contribution to poetry was the creative use of metaphor to bring the reader close to those ineffable moments of awareness – those incidents in which we seem to know that something absolutely marvelous is happening around us and to us and with us. He truly brought English poetry to a higher level in his day.
“John Keats and the Need for a New Renaissance in Poetry,” is calling upon modern poets to take a cue from Keats rather than focusing on mere descriptions of life as it is lived. It speaks to the use of language, the limits of language, and how the creative use of language can point the reader to what would otherwise be considered inexpressible higher aspects of reality.
Near the end of the article we find the following passage:
“The most profound creativity emerges from an intense and impassioned feeling that longs to communicate something located deep within one’s soul. It is beyond anything that can be grasped directly through the senses. The process of digging deep into one’s soul, and struggling to bring these passions into this world, to 'name' them, is arguably one of the most difficult challenges any mortal can face. It also parallels the process of discovery any great scientist must go through in order to develop a hypothesis, which the universe will accept.
“For Keats, the imagination was not the mere fancy of a Romantic, and the material world of sense perception was not the defining basis of his poetry. Rather than being concerned with a precise description of the 'real' world, the agency of the creative imagination was the hallowed realm in which a greater Truth about the nature of man and the universe could be captured…”
For those interested in reading this fascinating essay in full, you can find it at https://www.thechainedmuse.com/single-post/2018/10/29/John-Keats-and-the-Need-for-a-New-Renaissance-in-Poetry
Living the Metaphor
If I may make one more attempt to tie these two pieces of writing together, what Heschel is doing in his passage on prayer is that he is making the experience itself a metaphor by which we can lay hold of an intangible experience so that it becomes a means for a higher purpose. Keats demonstrates how the use of metaphor can allow us to find higher meaning in our everyday experience.
In Sophia, Pramuk is using the writings of rabbinical scholar and poet Abraham Heschel, along with the work of poet and Anglican priest John Henry Newman*, to illustrate the path taken by Thomas Merton who was a Trappist monk, scholar, and poet. He explains that these spiritual practitioners, unlike the typical western theologians, make use of poetics to describe a relational spirituality. Pramuk speaks of how poets have made use of metaphor to expand the efficacy of language and thus demonstrates how theology, when taking the poetic approach, can more effectively speak to the ineffable experience.
*John Henry Newman was an Anglican priest who later became a Catholic priest and cardinal. In his earlier days as an Anglican priest, he was one of the leaders of the Oxford Movement which sought to restore Catholic liturgy and ritual to the Church of England. Those efforts are still seen today in Anglo-Catholic parishes. He became one of the most important theologians of the 19th century, but may be best remembered by students of literature for his role as poet.
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If I may make one more attempt to tie these two pieces of writing together, what Heschel is doing in his passage on prayer is that he is making the experience itself a metaphor by which we can lay hold of an intangible experience so that it becomes a means for a higher purpose. Keats demonstrates how the use of metaphor can allow us to find higher meaning in our everyday experience.
In Sophia, Pramuk is using the writings of rabbinical scholar and poet Abraham Heschel, along with the work of poet and Anglican priest John Henry Newman*, to illustrate the path taken by Thomas Merton who was a Trappist monk, scholar, and poet. He explains that these spiritual practitioners, unlike the typical western theologians, make use of poetics to describe a relational spirituality. Pramuk speaks of how poets have made use of metaphor to expand the efficacy of language and thus demonstrates how theology, when taking the poetic approach, can more effectively speak to the ineffable experience.
I would add that Heschel has shown us how the person who gives oneself over to the practice of prayer/meditation can actually become the metaphor that enlightens and enlivens.
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*John Henry Newman was an Anglican priest who later became a Catholic priest and cardinal. In his earlier days as an Anglican priest, he was one of the leaders of the Oxford Movement which sought to restore Catholic liturgy and ritual to the Church of England. Those efforts are still seen today in Anglo-Catholic parishes. He became one of the most important theologians of the 19th century, but may be best remembered by students of literature for his role as poet.
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Tuesday, August 13, 2019
Opening Our Hearts to the Feminine
This week (August 15) marks the Feast of the Assumption of Mary. Taking advantage of that occasion, I am re-posting a couple of posts in celebration of the feminine archetype which rises within us and among us to bring life, love, and creativity. ~ CK
"She is always and forever rising. When she arises, there is creativity, compassion, and wholeness… We would all do well to take this day to recollect and to recognize all the beauties, delights, rewards and treasures that have come to us in life by way of the feminine principle."
I think of the feminine as necessary for bringing balance to life and creativity to the spirit. I, of course, am thinking from a male perspective. A woman would naturally have a different understanding of that feminine archetype (and any comments from a woman’s perspective will be welcomed on this post).
Poetic Connection
I mentioned in another blog post that the Catholic view of Mary is a stumbling block to many Protestants, but it was one of my greatest attractions as a convert from Protestantism. The following poem is my first attempt to write about the profound nature of the feminine archetype. I was still a Baptist at the time, though I borrowed the Catholic title of “Our Lady.”
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"She is always and forever rising. When she arises, there is creativity, compassion, and wholeness… We would all do well to take this day to recollect and to recognize all the beauties, delights, rewards and treasures that have come to us in life by way of the feminine principle."
This week is a time to celebrate the sacred feminine. The Feast of the Assumption of Mary is coming up on August 15. It is a Holy Day of Obligation in the Roman Catholic liturgical year. The Assumption of Mary only became dogma in 1950, but Carl Jung called it the most significant religious event since the Reformation. To him, if codified a deep longing for that feminine archetype to take her place alongside the Holy Trinity. He went on to say that “For more than a thousand years it has been taken for granted that the Mother of God dwelt there [in the heavenly court].” (See Answer to Job, by C.G. Jung, pp. 99 - 100)
Interpreting and Honoring
Interpreting and Honoring
When one looks at the fields of literature, art, music, religion, psychology, and
archaeology, it is quite clear that the feminine principle cannot be suppressed. She is always and forever rising. When she arises, there is creativity, compassion, and wholeness. Many people will disagree on the significance of the feminine that is displayed in so many aspects of life. Some will call her Goddess, some will call her Mediatrix, and some will declare her Queen of Heaven. Some will call her anima while others will exult in the divine muse. Traditional Catholics will have their view, feminists, artists, musicians, psychologists, academics, and “new age-ers” will each have their particular take on the significance of the various manifestations of the feminine archetype. How we interpret the transcendent feminine principle and how we name it is far less important than the fact that the feminine is honored. And on this day, she is honored in a big way. She is recognized as an immanent presence in the highest realm of the universe. We would all do well to take this day to recollect and to recognize all the beauties, delights, rewards and treasures that have come to us in life by way of the feminine principle.
archaeology, it is quite clear that the feminine principle cannot be suppressed. She is always and forever rising. When she arises, there is creativity, compassion, and wholeness. Many people will disagree on the significance of the feminine that is displayed in so many aspects of life. Some will call her Goddess, some will call her Mediatrix, and some will declare her Queen of Heaven. Some will call her anima while others will exult in the divine muse. Traditional Catholics will have their view, feminists, artists, musicians, psychologists, academics, and “new age-ers” will each have their particular take on the significance of the various manifestations of the feminine archetype. How we interpret the transcendent feminine principle and how we name it is far less important than the fact that the feminine is honored. And on this day, she is honored in a big way. She is recognized as an immanent presence in the highest realm of the universe. We would all do well to take this day to recollect and to recognize all the beauties, delights, rewards and treasures that have come to us in life by way of the feminine principle.
I think of the feminine as necessary for bringing balance to life and creativity to the spirit. I, of course, am thinking from a male perspective. A woman would naturally have a different understanding of that feminine archetype (and any comments from a woman’s perspective will be welcomed on this post). Poetic Connection
I mentioned in another blog post that the Catholic view of Mary is a stumbling block to many Protestants, but it was one of my greatest attractions as a convert from Protestantism. The following poem is my first attempt to write about the profound nature of the feminine archetype. I was still a Baptist at the time, though I borrowed the Catholic title of “Our Lady.”
To Our Lady
My love bore twilight in her breast,
And starlight beauty shone
That bade me gladly leave the rest
To seek out flesh and bone.
My love bore sorrow in her eyes,
And joy within her heart
That made me fully realize
That all-connecting part.
My love bore grief within her bones
And victory in her brow.
Her strength rolled back the massive stones
That held my heart till now.
My love bore twilight in her breast,
And starlight beauty shone
That bade me gladly leave the rest
To seek out flesh and bone.
My love bore sorrow in her eyes,
And joy within her heart
That made me fully realize
That all-connecting part.
My love bore grief within her bones
And victory in her brow.
Her strength rolled back the massive stones
That held my heart till now.
~ CK
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Other related posts:
- A Jungian Appreciation of Mary
- Ave Maria (Morten Lauridsen)
- Schubert's Ave Maria (Bobby McFerrin)
- Reflecting upon Michelangelo’s Pieta
- To a Local Goddess
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Photos: The upper photo, judging from the watermark, is by Eddi van W. I found it being used on two websites: Temples of the Moon, and Woo Woo Momma.
The lower photos are details from Michelangelo’s Pieta
(This post first appeared on August 15, 2014, under the title, "Celebrating the Feminine Principle."
(This post first appeared on August 15, 2014, under the title, "Celebrating the Feminine Principle."
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Friday, April 12, 2019
Poetry Is Where You Find It
Poetry by Subtraction
Last year I was at a poetry workshop in which we were given several techniques to experiment with in writing poetry. One of those techniques was called "Poetry by subtraction." The facilitator passed out several pages taken from various magazines and old textbooks. The idea was to look at a prose passage and find the phrases that jumped out, then eliminate (subtract) all the other words to see what you come up with. I was given some pages from a travel guide (see above). You can see where I circled some words and marked out passages.
What follows is a poem taken directly from words and phrases excised from the travelogue.
Thirty miles west,
A ruined monument
is one fascinating sign to
follow.
A million years ago
on a windless day
Abstractions
track mysteries.
See other examples here, then try it for yourself!
Found Poetry
The exercise above is a variation on the concept of "found poetry," in which one takes words and phrases from any number of sources: newspaper articles, obituaries, cookbooks, appliance instructions, etc. You can then arrange the words and phrases in any manner you choose, and in a collage. With this technique, your poetry can morph into a visual arts piece, or a craft project as in this example from Art Journalist:
Both of these techniques can be fun exercises, and they may serve as a stimulus to creativity when you are not sure of what to write next.
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Thursday, September 17, 2015
Hildegard of Bingen: Wellspring of Creativity
Hildegard of Bingen, whose feast day is today (September 17) is sometimes referred to as the patron saint of creativity. She has also been known as the patron saint of the culinary arts, having written many recipes including her "Cookies of Joy" recipe for "reducing bad humors" and "fortifying the nerves." Actually she is not an official patron saint of anything, which may be a good thing because to think of Hildegard merely as a “patron saint” is to gloss over her profound capabilities and influence.
Hildegard of Bingen was a polymath – an individual highly gifted in a variety of fields. She was skilled in the healing arts, having written two books on pharmaceutical herbs and the workings of the body. Her written works include theology, ethics, and biblical commentary. In addition, she composed music and wrote poetry. She was a visionary who brought religion, science, and art together.
Hildegard of Bingen was a polymath – an individual highly gifted in a variety of fields. She was skilled in the healing arts, having written two books on pharmaceutical herbs and the workings of the body. Her written works include theology, ethics, and biblical commentary. In addition, she composed music and wrote poetry. She was a visionary who brought religion, science, and art together.
St. Hildegard has a wide range of admirers today. She was recently been named a
Doctor of the Church by Pope Benedict XVI (there are only 35 Doctors of the Church to date, and only four women).
She is also of interest to feminist scholars and many in the New Age
movement. She claimed her knowledge came
from divine visionary experiences, which may have lent credence to her words at
a time when women had little voice. She challenged institutional
corruption in the church and spoke out for social justice. There is even
renewed interest in Hildegard’s music, with several modern recordings featuring
her works.
A Pivotal Age
A Pivotal Age
The
Twelfth Century was a very dynamic period and St. Hildegard was right there in
the thick of it, having lived from 1098 to 1179. Indeed, it was a pivotal time
of shaking off many of the old ways and taking up new forms. Perhaps it is no
wonder that the saint from Bingen is attracting more attention in our day when old forms are not working and our institutions which were developed during the Industrial Revolution are languishing and becoming ineffectual.
One
example of how Hildegard’s understanding grew and developed as a result of her
visionary mystical experiences is seen in the following quote in which she
describes one of her visions:
"Listen: there was
once a king sitting on his throne. Around Him stood great and wonderfully
beautiful columns ornamented with ivory, bearing the banners of the king with
great honor. Then it pleased the king to raise a small feather from the ground,
and he commanded it to fly. The feather flew, not because of anything in itself
but because the air bore it along. Thus am I, a feather on the breath of
God."
May
we all come to see ourselves being borne up and empowered by the very breath of
God. For people who want to celebrate a variety of life expressions, for those
who seek to participate in creativity, and for all of us who live in this pivotal age, it is good to spend some time
today with such an incredible polymath as Hildegard of Bingen.
For
more information check out the links below:
- Hildegard of Bingen: Visionary
- St. Hildegard of Bingen (at American Catholic.org "Saint of the Day")
- Hildegard of Bingen: Visionary, Composer, Writer (Women's History)
- St. Hildegard (New Advent Encyclopedia)
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Image of St, Hildegard of Bingen from Abby of the Arts Dancing Monks Series
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Friday, May 1, 2015
The Magic City Art Connection – and Birmingham’s Disconnect
I have spent some time on this blog over the past year extolling the good things about the city of Birmingham. I have been proud of the strides the city has taken in urban residential development, the creation of Railroad Park, bringing the Birmingham Barons back to the city, and hosting His Holiness the Dalai Lama during Human Rights Week. I regret to say, however, that our city leaders have taken a huge step backwards, as evidenced by the city's treatment of the Magic City Art Connection last weekend. Birmingham has decided that it will no longer waive fees for public events that require additional services from the city such as police, fire, and sanitation. Therefore, the Magic City Art Connection will owe the city around $12,000.
For over thirty years the Magic City Art Connection has been a source of life and vitality for the city and a wonderful celebration of the creative arts. It has been a venue for local artists, students, and others to display their talents. It has also been a place to give children hands-on experience in artistic creation with their Imagination Festival workshops.
At one of the events years ago, a school teacher was using the event to celebrate the art of poetry. He was asking passersby to write a short poem on small paper flags which were then attached to long strings and draped along the trees in the park. I’m not one to sketch, draw or paint, but jotting down a poem, I can do. I therefore took up the young teacher’s invitation. It became an opportunity to stop, look around and take in the sights and sounds around me. After a brief time of observing the gathering in the park, I wrote a short poem. My poem was attached, as requested, to one of the banners hanging from a tree, where it caught the breeze along with many other poems. I also jotted it down and took it home as a remembrance of the day:
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| "Tree-wrapping" at a past Magic City Art Connection event |
In the Park
Sitting on the roots
of an
old oak tree
In the park
Watching children
Dance and pop bubbles
Being blown by a clown --
This is the reason
For civilization.
Unwelcome Financial Changes
This year, with the city of Birmingham charging fees for the use of Linn Park, patrons coming to the Magic City Art Connection had to pay to gain admission. My grown daughter and I attended, as we had done so many times in the past when she was growing up. This time, paying $5 to get in was a bit of a downer, but seeing temporary fencing surrounding the park, a lack of people freely coming and going, and smaller numbers in attendance was an even BIGGER downer. I missed the openness, the celebration, and the free-flow of people. There were also fewer vendors on hand to provide food and refreshments. John Archibald, columnist for The Birmingham News says that the city might as well throw out the "unwelcome mat."
In his column for the Sunday edition, “City of Birmingham: It takes (more) money to waste (your) money” Archibald takes the city council to task for its exorbitant spending on personal trips around the world, but denying requested funds to enable the police department to cover extra expenses for maintaining security at civic events such as the Magic City Art Connection. “Mayor William Bell, with the tact of a SWAT team and the grace of a water buffalo,” Archibald wrote, “earlier this year issued an edict saying the city would – ‘due to economic reasons’ -- no longer waive fees for city services at events and festivals like this weekend's Magic City Art Connection. So that festival, which has drawn people downtown for three decades, will get a city bill for at least $12,000.”
The kicker, as John Archibald states, is that the city is not being fiscally responsible as a whole. He presents a glaring comparison: “We know every time a Birmingham Council member wants to fly to Washington DC -- which is just about every week -- the city will drop $5,000 like it's hot. And that's about the same amount the city wants to charge for charity road races that bring thousands downtown and raise money for the city's most deprived people.”
I am certainly on board with what Archibald is saying. Surely the goodwill, the influx of visitors with money to spend, and the event itself would bring the kind of publicity and promotion that a vibrant city needs. If the city of Birmingham continues this penny wise and pound foolish measure of refusing to waive fees for special events, those events may follow the city council members’ lead and do some travelling themselves – to cities that are more welcoming.
Setting Up Barriers
My daughter Elaine, who is an artist in her own right, was even more dismayed by the barriers in evidence at this year’s festival. She saw “that awful fence” that surrounded the park as representative of a wider barrier – the barrier between the poor and cultural expression. “Too many people think that art is somehow above them, out of their reach and out of their comprehension. How many times do we hear,” she pointed out, “I don’t know art, but I know what I like? Easy access,” she says, “teaches children about the accessibility of art and removes elitism.” She was sad to see the city create yet another barrier between art and the people. “Five dollars (the price of admission for the day) isn’t much to us, but what about the families that rely on public assistance? These are the very people who we want to reach the most.”
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| From the 2014 Magic City Arts Connection |
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| Students involved in a 2008 workshop |
Furthermore, my daughter was concerned about the impression that visitors may have. “Art fairs like this draw people from all over the country who want to show and sell their work,” she noted. “We want to give them a good impression of our city.” One artist we talked with who works in ceramics came down from Indiana. She had a booth with many attractive items for sale. Indeed, for 32 years the Magic City Art Connection has attracted artists and artisans from far and wide, and has introduced children and adults to the many and wonderful means of artistic expression.
Keeping the “Magic” in the Magic City
The irony is that for all of those years when Birmingham seemed to be foundering, losing its economic footing, wondering how it could keep living up to the “Magic City” moniker of its industrial heyday, it always found a way to support these special events. Now that our city is beginning to re-emerge as the up-and-coming city of the South, we are hit with this policy reversal from city hall in its refusing to grant the needed funds for community events.
Let’s hope that in the future wiser minds will prevail so that the police, fire, and sanitation departments can be adequately funded to serve special events the way they have in the past. Demonstrating to everyone that our city can find a way to promote special events like the Magic City Art Connection is one way we can continue to live up to “the Magic City” heritage. With the momentum of new and exciting developments that are making Birmingham an attractive place, let’s not nickel and dime our way back into the doldrums of the recent past by continued refusal to waive fees for beneficial public events.
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| Booths where artists display and sell their work |
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All photos are were taken from the Magic City Art Connection website and AL.com
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Sunday, February 3, 2013
The Art of Prayer
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So if you have an interest in spirituality or the creative arts, take a look at David's blog at http://praylikeagourmet.com/.
David also has some interesting activity on his other blogs:
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Friday, May 25, 2012
Bob Dylan Interview: In Australia with George Negus (1986)
I found this George Negus interview of Bob Dylan online. It took place as the singer was kicking off his 1986 Australia/New Zealand tour. I found this interview to be very interesting. The folks in the United Kingdom have had a great appreciation for Dylan from the beginning. Perhaps it is that fascination that brings such energy to this interview. Negus questions the songwriter about his religious phase and Dylan replies that maybe he wrote those songs because they were what people were needing to hear, that perhaps he was tapping into that collective longing. I do think that part of what makes poetry and art speak so deeply to people is artist's ability to tap into that collective unconscious. Perhaps it was that poetic sensitivity to "tap in" to that collective energy and awareness that has made Dylan so appealing through the years and which caused him to be dubbed "the voice of a generation" back in the 1960s.
So today, the day after Bob Dylan's 71st birthday, enjoy this interview from 1986.
Bob Dylan - George Negus Interview, 1986 by tedhamporterhouse
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So today, the day after Bob Dylan's 71st birthday, enjoy this interview from 1986.
Bob Dylan - George Negus Interview, 1986 by tedhamporterhouse
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Bob Dylan Interview: 20/20 with Bob Brown (1985)
I remember watching this 20/20 interview when it first aired in 1985. I was so excited to see it. Bob Dylan was at the peak of one of his most creative periods, in my opinion. Others will disagree, but I thought Infidels and Empire Burlesque showcased the height of the songwriter's skills. Others have talked about how they did not care for his music from the 1980s, but to me he was at the top of his game. Of course, the recording artist has had a number of high points in his career. The 1960s protest era when he was dubbed "the voice of a generation," for his work as a folk artist. Then he set new standards for rock with albums like Blonde on Blonde and Blood on the Tracks. Later he would shock his fans and introduce himself to a new audience and a new generation with his "born again" religious themes in Slow Train Coming and Saved.
At the time of the 20/20 interview he had yet to produce another masterpiece that would emerge in a few years with Oh Mercy which capped off his very productive 1980s period. There would be other Grammy-winning recordings in the decades ahead with Time Out of Mind in 1997, Love and Theft in 2001, and Modern Times in 2006.
(Next post: an interview in Australia from 1986)
(Update, 9/21/13: Apparently the 20/20 interview is no longer available on You Tube. I did find a transcript of the interview at http://www.rightwingbob.com/weblog/bob-dylans-1985-interview-on-the-abc-tv-show-2020 )
Newer update: Here is the interview, back on YouTube,
At the time of the 20/20 interview he had yet to produce another masterpiece that would emerge in a few years with Oh Mercy which capped off his very productive 1980s period. There would be other Grammy-winning recordings in the decades ahead with Time Out of Mind in 1997, Love and Theft in 2001, and Modern Times in 2006.
(Next post: an interview in Australia from 1986)
(Update, 9/21/13: Apparently the 20/20 interview is no longer available on You Tube. I did find a transcript of the interview at http://www.rightwingbob.com/weblog/bob-dylans-1985-interview-on-the-abc-tv-show-2020 )
Newer update: Here is the interview, back on YouTube,
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Thursday, May 24, 2012
Dylan Interview: 60 Minutes with Ed Bradley (2004)
Bob Dylan vs. Today's Music from Mitch Corber on Vimeo.
Today, May 24, Bob Dylan turns 71. Here is Ed Bradley interviewing the song-writing legend when he was 63, looking back on his career. Dylan has some interesting things to say about the creative processand about his personal sense of destiny. The interview is a little over 15 minutes long.
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Saturday, September 24, 2011
Liminal Space, Sacred Time, and the Public Reading of Poetry
Liminality (from the Latin word līmen,meaning "a threshold") is a
psychological, neurological, or metaphysical
subjective state, conscious or unconscious, of being on the
"threshold" of or between two different existential planes.
Psychologists call "liminal space" a place where boundaries dissolve a little and we stand there, on the threshold, getting ourselves ready to move across
the limits of what we were into what we are to be.
My wife and I had a wonderful evening last night as we
listened to 16 people from various walks in life read their favorite poem. The
event was co-sponsored by the Birmingham Arts Journal and the Alabama School of Fine Arts. Local TV newsman Mike Royer was on hand as emcee, and did an outstanding job introducing each reader and helping the event to flow smoothly.
I have long considered poetry to be a sacred process and
poems make available to us a body of sacred writing. It is a canon which has
never been closed and which continuously arises to speak to the human
condition. To sit and read a poem is to be open to a sacred time where life and
mystery is celebrated. Even more important is the public nature of poetry. Long before human communities were even
literate, people gathered in public spaces and around fires to hear the sounds
and the rhythms of that unique language of poetry.
Last night was such a time and I am grateful to Jim and Liz
Reed of the Birmingham Arts Journal and to ASFA for creating that public arena
for the reciting of poetry. I am also grateful to each of the readers who stood
before us to read their favorite poem.
We heard stories of humanity that echoed the joys and
sorrows, the struggles and triumphs of life.
There were light-hearted moments, there were occasions for laughter, and
there were moments of somber reflection. We heard stories of war time, poverty,
and family. We heard from poets who affirmed every aspect of life, each in his
or her own unique style.
After the readings, there was a grand reception hosted by
ASFA’s Creative Writing Department. Off to the side was the school’s art
gallery which was open with installments from the Visual Arts students. My wife
and I took the time to walk through the gallery to see the exhibits. Our
daughter graduated from ASFA with a specialty in Visual Art, so we enjoyed
seeing once again the creations of those high school students. As always, I was
amazed at the creativity expressed in the sculptures and paintings within the
gallery. It was yet another occasion to walk within that liminal space that
gives us cause for wonder and hope.
All in all, the evening was a great celebration of
creativity, life, love, longing, and community. It was a reminder of the
importance of bringing people together to publicly set aside sacred time and liminal
space to celebrate life together as we navigate this hopeful but unsure path.
* * * * *
You may be interested in reading:
*
Thursday, July 28, 2011
Any Tree That Falls: why creative people must create
Any
Tree That Falls
There’s
that old Zen riddle that we’ve all heard
“If
a tree falls in the forest,
and no one is there to hear,
Does
it make a sound?”
I only lately came to some understanding.
There is a writer’s workshop
(it happens somewhere on any given weekend)
Led by some accomplished poets and novelists.
All in attendance are writers
Most have never been published
Most are unknown
Except to a small circle of friends.
Any published writer
Evokes both admiration and envy
From the many poets and writers
Who create without recognition.
In every city
In every town
People gather to make music.
They sing
They play their instruments
In living rooms
In church basements
In garages.
By the way,
The answer to that riddle is “Yes!”
The answer is always yes.
Wherever there is life,
The answer is yes.
Any expression of art
Says yes.
Your contribution is important
Your voice is heard.
Your words are significant.
For every poet, we say yes.
For every singer, we say yes.
For every dancer, every artist,
every musician,
we say yes.
Even if there is no book,
no recording
contract,
no public
recognition,
We say yes.
For
every tree in the forest,
Every movement,
Every rustle,
As long as there is life,
We say yes.
Whether you sing in the shower
Or at the New
York
The answer is yes.
Whether you write for The
New York Times
For Harper and Row
For your family
Or just for yourself,
The answer is yes.
Whether you dance for the Bolshoi
Or to the radio in your living room,
Your movement
Your celebration
Your voice
Your words make a difference
And the answer is always yes.
Charles Kinnaird
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