April 29, 2021: Spotlight on THE POET’S FREEDOM: A NOTEBOOK ON MAKING; Context for Poem “Atelier”; Garden Update

Poet Susan Stewart is also a renowned teacher and gifted critic. Her collection, The Poet’s Freedom: A Notebook on Making, (The University of Chicago Press, 2011) is a beautifully made book in terms of format, cover, paper, design, and offers eight sections of thematically linked essays to form a progression in thought, along with an envoi that recasts the prose of the prologue, “A Sand Castle,” into the form of poetry, “The Sand Castle.”

I have been reading this excellent and erudite collection slowly, beginning in 2014 and continuing. Why the glacial pace?

Stewart, (a MacArthur Fellow, among her many awards) has a brain and the training that easily inflects her thoughts and arguments on creative process through the tradition formal philosophical discourse. Me? Not so much. I freeze for a few heartbeats when confronted by names like “Hannah Arendt” or “Kant” or “Hegel” and terms like “hermeneutics” and “phenomenology”. And yet, through Stewart’s guidance, I have been able to move a few steps outside my comfort zone, identify a few new patterns and possibilities for context that I would not, surely, have discovered on my own, rather like a person accustomed to gazing at the night sky being invited by a renowned astronomer to look at the images from a radio telescope. Vastly enlarging, and a bit unsettling! The essays are also well supplied with examples from writers from Hesiod and Aristotle down to the present day, and these are welcome to me because they give me a bit more purchase in her vertiginous landscape.

To give you a summary sense of that scope, this volume has 303 pages. Of those, 19 pages offer an index; 25 pages provide a list of works cited; and 56 pages append Stewart’s own Endnotes.

And yet, I find myself engaged, paragraph by paragraph. My copy of the book can never be lent because it is overlaid with a palimpsest of soft penciled questions and sudden insights. And I think Stewart would welcome that. Here is her intentional blueprint, succinctly laid on page ix of the Acknowledgments section:

“This book bears the subtitle A Notebook on Making because I have written it out of concerns that have unfolded over time–the concerns of a poet with a vivid interest in other art forms. I therefore hope that my words will be of use to makers of many kinds, but I should say from the outset that my world of examples and references necessarily reflects by own practice and predilections. Another book entirely could have been written on these concerns by a composer of music or prose fictions, for example, and yet the ‘otherwise’ remains our common resource.

“I have framed the parts of this book as ‘entries’ and provided some room at the end for readers’ notes. And although I have spoken to those readers as if they will turn the pages continuously from start to finish, I imagine, and hope, I have made a book for perusing from time to time. I have not unwound a single story or hammered a final argument into place, for this is a book about the pleasures of making and thinking as unfinished, ongoing, means of life. My aim has been to set forward some ideas about the freedom artists have–the deep past of that freedom, and its future.”

Stewart’s penultimate paragraph (concluding the essay “Persons as Makers” and the book itself) is a call to action in the wider global life we all share, in whatever way we participate in life and work. It is both an opening up, and a skillful summary of the book she has achieved.

“The freedom of the artist is not a privilege of occupation but something that anyone can exercise under certain conditions. These are a bounded time and space not dedicated to prior ends, and openness to mood and a self-composed independence from it, a willingness to let the imagination play against the determinations of form, and a commitment to choosing and judging anew. The finite experiences of art making, as untied as they can be to causes and consequences, are by definition attempts or tries, yet in their long history they give the fullest account we have of human striving and dreaming and provide the fullest arsenal of resources for action.”

If you are interested in learning more about this collection, I highly recommend seeking your own personal copy and prepare for months or years of engaged reading!

Context for Poem “Atelier”:

I drew inspiration for this poem from many sources–my own quilting, knitting, and card-making, especially, and an article in the May 2021 issue of Vanity Fair magazine, “Phantom Threads” by Leah Faye Cooper on the people and tradition of applied art/fine crafts that serve the House of Chanel in Paris. It also seemed a good pairing with Susan’s Stewart’s focus on making as applied to creating poetry.

Garden Update:

So much unfolding takes place in a Minnesota garden from April 1 to the end of the month.

Siberian iris, deep purple flowers expected in the middle of May

There is a leap of growth everywhere, from budding leaves to lawns, though I have not heard any lawnmowers at work yet. Bees are back, and robins, too. Cardinals are nesting, making the crows a tad grumpier than usual, and the young rabbits stare longingly through the fence at the tulips emerging. The wash of blue scilla and froth of white bloodroot has subsided as have the crocus flowers, but the bleeding hearts have begun to bloom.

So have the robust yellow daffodils planted last year and the petite but dazzling snake lilies.

Lily of the valley and zebra iris are on the rise.

Blue, white, and the occasional red-purple violets are massing on the borders of the yard.

It is good to see old friends. Soon, we will have a mountain of mulch in our driveway, the wren houses will be hung up invitingly, and the plants we have over-winter inside–coral and scarlet geraniums, Chinese Red Dragon, Mercury Rising, and crimson Gerbera Daisies–will be moved outdoors again. We’ll be watch for morning glories to climb their trellises. Likewise beans and staked tomatoes. Hosta will rise up. Sunflowers will be nodding over our heads, summoning hummingbirds and goldfinches. The hammock will come out, and you will be able to find me there, with a book, in the welcome afternoon shade.

It still holds, that perennial truth: if you have a garden and a library, you have everything you need.

Once more only, until tomorrow,

LESLIE

Thank You, Third Wednesday! My Photo, “Enigma Cafe,” Is Shared on Their Blog

I am surprised and pleased to learn that 3rd Wednesday Magazine has shared my black and white photograph, “Enigma Café,” on their blog this week.

To celebrate, I am sharing a color photo of a different café, one here in Northfield. Later today, I shall be mulling over the poems I have written, trying to decide if any of them are worthy of being submitted to the magazine’s annual contest (deadline: February 15, 2021.)

This image reassures me, as I contemplate the week ahead replete with sub-zero temperatures, that before too long the air will grow balmy again, and we will be able to shed wooly hats, mittens, snow boots, down parkas, and even sweaters (if not yet masks!)

Trendy Retreads

Okay, perhaps not all that trendy!

Like many of us, for me this extra time at home dovetailing with extra energy for sorting and cleaning has brought some buried treasure to light. I have realized that a few things that I have published over the years, and which upon rereading still seem to me to hold some value and interest. Yet these unearthed gems have proven even more ephemeral than I expected.

Perhaps it is a review of a book that I loved, published in a local newspaper decades ago–fish wrap, any one?–but upon rereading was moved to pick up the book again and encounter it anew. Or perhaps it is an essay, story, or poem that was published in a print or online publication that has gone dark.

In any case, I am going to share again a few of these blasts from the past during the dog days ahead. Fear not! I will alert you in the headline whenever the bulk of the post is recycled, so you can skip it if you wish! (There will be all-new posts sprinkled in, here and there, too, this summer.)

Wishing you elegant enjoyment of the hot weeks ahead!

Leslie

News Flash! Mezzo Cammin Publishes “Song of the Mad Lithographer” and “Anniversary” (Poems)

Looking west over the Cannon River

The newest issue of Mezzo Cammin is up! I am so happy to have two sonnets included in this issue, which also includes exciting work by a number of formalist poets, including my friend, Sally Nacker. This issue’s feature poet, Jane Satterfield, contributes a group of seven poems astonishing in their range of subject, formal deftness, and emotional depth.

As a prelude to the pleasures of National Poetry Month, I can imagine nothing more enjoyable than dipping into this new offering by Mezzo Cammin.

Happy Reading! Let me know what you think!

LESLIE

Blasts from the Past: Photography Shows (2009 to 2012) Part I

Leslie and Julia in 2007, at Village on the Cannon, below some of the photographs I made.

During these odd grey and isolated days, as the count-down begins for my textcentric posts each day in April to celebrate National Poetry Month, I have been thinking of poetry’s sister art, photography, and the ways I have tried to “write with light.”

This March, I have been looking out of the window more often. Also deep into closets and filing cabinet drawers, clearing and sorting accumulated paper. I’m having some surprising and delightful discoveries of forgotten moments; finding forgotten enthusisams that can be relived; and also experiencing moments of saying “Huh? Now why did I think this was so valuable?” Maybe you are doing this, too? With the mind more still it is easier to assess what really needs keeping. And it is easier to see the way life has moved us in new directions.

Take, for example, my love affair with photography. It started when I was a child pouring over the photograph albums kept up by my mother. I began taking photographs with a point-and-shoot camera in high school, and after seeing a life-changing exhibition of work by master Henri Cartier Bresson, I began to try to think in pictures, so balance the moment in terms of light and shadow, background and foreground, sharp and soft focus. When I was a junior in college, a young woman in my dorm, Jean, gave me a tutorial in one of the University’s student dark rooms. (If I can locate it in the now-mouldering stacks of mimeographed paper I have yet to sort, I plan to share here a poem I wrote about that day.) When the following summer I traveled to Wolf, Wyoming to work on a ranch (as a waitress on a dude ranch, I hasten to add!) I took a few images that still help me recall my early passion for photography. (Some of these I published last year, on Shakespeare’s birthday.)

I never became adept at F-stops or with baths of developer and fixative. Still, I kept pointing and shooting. I worked with professional photographers to secure the images needed to illustrate the profiles I wrote over thirteen years for a now-defunct publication for a prominent foundation. When Julia was born, the pace of photo snapping accelerated. In the years that Tim worked for fallen film giant, Kodak, I got my first digital camera, which was freeing. (From there, I discovered the digital SLR, followed most recently by the ubiquitous iPhone camera.)

When my father died, in December 2003, my grief created a turning point through photography, when I undertook a ninety-day study of an amaryllis against the backdrop of a friend’s painting. This spiritual and artistic exercise taught me as much about lifespan as it did about light and shadow.

Then, two much more brave and experienced artists helped me to move to a new level.

In 2005, a friend, Patsy Dew, and I, decided to collaborate. Some of you might recall Kalafield Images’ posters of locally sourced images, our five years of shared presence at the Northfield Arts Guild’s annual Art Fair during Defeat of Jesse James Days (2005-2009), our cards in local shops. Patsy is a bold and consummate artist in many disciplines, a Northfield Living Treasure. Her companionship emboldened me to share my work through sales and exhibitions. Patsy is still very active as a photographer. For a real visual treat, check her website.

Meanwhile, my sister, Karla, inspired me not only with her (VAST) technical expertise but with the exquisite images she captured in the wilds around Atlanta, Georgia where she lives and anywhere she travels. (A search on “Karla Schultz” here will yield many posts that showcase her images of light, landscape, flora, and fauna. One of her pictures of me appears below.) Her encouragement, gifts of equipment, and especially advice on software and camera care were invaluable. Most valuable of all has been the periodic opportunities to go with her on what we call “photo safaris.” I continue to learn from her work and her example.

A trip to Paris in March 2009, gave me new confidence. I brought back images that eventually led to an invitation for a solo show in Minnetonka, the subject of the “Part II” on this subject I plan to post soon.

Even as I have left printing, framing, and exhibiting behind, sharing images here instead and focusing more and more on poetry, prose, and essay, I still recall the thrill of seeing a photograph I had made printed large and hung like a window on an inside public wall. And so I thought I would share some of the highlights here, combining images of a variety of exhibitions.

SEBASTIAN JOE’S (2009)

An early foray was at a coffee shop in the Linden Hills area of Minneapolis, near Lake Harriet, where we lived prior to moving to Northfield. I recall my heart pounding as I inquired about showing my work, my astonishment at the easy “Oh, sure” that resulted. Once the date was set, Tim, my trusted artistic friend, Bonnie Jean Flom, and I drove with the framed photographs, wire and wire cutters, putty (to secure pictures to the wall.) I had already gone up to measure the walls and check light conditions so I knew what I wanted to print, and how to group them. Here was the artist statement

As a poet and photographer, words and images are fluid – not quite interchangeable, but closely related – with arresting visual images giving rise to poems and poems coloring how I view the world through my camera lens.

Photography helps me see everything around me with more tenderness, noticing beauty where I might otherwise overlook it. I’ve learned that each moment is distinct and unrepeatable. In a split second the light changes, the subject changes, I change. These photographs were taken in various locations (Northfield, Minnesota; Minneapolis, Minnesota; Atlanta, Georgia; and Paris, France). I hope they give you pleasure right here and now.

“Beautiful Woman Kanji” (Blois, France)
“Girl Singing” (Outdoor Market, Paris, France)
“Quest” (Paris, France)
“Wren House” (Northfield, Minnesota)
“Gingko” (Northfield, Minnesota)
“Leslie at Sebastian Joe’s” (Photo by Karla Schultz)

NORTHFIELD ARTS GUILD GALLERIES (2006-2012)

The Northfield Arts Guild has been a place of welcome for this budding visual artist. I first started showing photography in the yearly Members Show. In 2009, I was invited to show work in a satellite gallery they maintained in our local Allina Medical Clinic.

“Security Food” (Bayfield, Wisconsin)
“Song of Childhood” (Lonsdale, Minnesota)
“Blossom” (Northfield, Minnesota)

I was also thrilled to be included in a show of thirteen artists, curated by Patsy Dew and Meg Ojala in 2011, called “Northfield Ties.

“Northfield Ties” (2011)
“Dry Well” (Savannah, Georgia)
“Palm Rose” (Northfield, Minnesota)
“Leaf on Kelp” (Darling Marine Center, University of Maine)
“Luna Moth” (Willett House, Darling Marine Center, University of Maine)
“Gold Heart” (Northfield, Minnesota)

And in another show in 2012, “Small Works,” included two of my black and white images.

“Laundry Day” (Northfield, Minnesota)
“Wedding Dress” (Taylor’s Falls, Minnesota)

Also thanks to the NAG, I connected with an arts consultant who worked with hospitals and clinics. Through her, I was able to sell some photographs that are (I understand) in various collections. There are two here in Northfield. Here is my favorite.

“Garden of Quiet Listening” (Carleton College, Northfield, Minnesota)

THE CROSSINGS AT CARNEGIE (ZUMBROTA, MINNESOTA) (2010)

In January 2010, Marie Marvin invited me to show work in the art center she created in Zumbrota, Minneosota. The exhibit, and the lively opening, was a heady and heartfelt evening.

Kieran Aus and Julia Braulick at The Crossings Gallery Opening (Zumbrota, Minnesota)
“Helianthus” (St. Peter, Minnesota)
“Luminous Tulips” (Northfield, Minnesota)
“Guess Who?” (Northfield, Minnesota)
“Urban Trees” (Outside the High Museum of Art, Atlanta, Georgia)
“Missing You” (Lonsdale, Minnesota)
“Fame” (Northfield, Minnesota)
“Flow” (Como Conservatory, St. Paul, Minnesota)
“Prow” (Bayfield, Wisconsin)
“Chrome Yellow” (Northfield, Minnesota)
“Refresh Yourself” (Orlando, Florida)
“Ice Heart” (Northfield, Minnesota)
“Wren House in Winter” (Northfield, Minnesota)
“Democracy: Call and Response” (Stone Mountain, Georgia)

The Crossings has also been important to me through its annual Poet-Artist Collaboration which invited visual artists to interpret selected poems, then brought everyone together for a reading and exhibit and general celebration. Now that The Crossings art center has closed, I was cheered to hear that the event lives on under the aegis of the Red Wing Arts.

As my attention has moved away from exhibiting photographs (aside from here on the Winona Media site!) I thought about the sheer bulk and poundage of those images that had their moment in the sun. Many of these framed prints are still in our house, but one house can only shelter so many. Some have been sold over the years, and many given away. It is really rather pleasurable to encounter work around down, in the homes of friends or in a few public spaces like the Allina Clinic. I think of it as the grownup version of the thrill children have when they see their art work displayed on the refrigerator door of a neighbor.

Thank you to everyone who has cheered me on in my love of trying to take pictures, and especially those of you who have come to the various gallery openings over the years. On these grey and secluded days of narrow orbit, I am cheered by seeing again the shapes and color in these images. I hope that they have give you a moment of respite, too.

If you have read this far, thank you for joining me in scrolling down Memory Lane!