Christina Westover's Blog - Posts Tagged "art"
"What does Kurt Cobain's memory mean to you as an artist and how does his influence carryover into the book, beyond what's in the narrative?"~~asked by Ren Garcia, Author of "The League of Elder:Sygillis of Metatron"
Interesting questions. The book is first of all about men--what I think of men, what I think it would be like if I were a man,and how I don't think men are much different than women, emotionally.This is my first novel written with a man as the main character, and I wanted to write a man who was emotional and sensitive, but not a pushover. I always thought Kurt Cobain was the sort of man I would want to be--aside from the drug use. I think he was thoughtful and loving, driven by something beyond himself--that passionate love which causes all artists to create, and this I admire about him. I also mention him because he came from a simple life, and worked diligently to make a name for himself. My character Virgil understands, if one person can do it, he can do it--he can make his dreams come true. Virgil is a dreamer who understands that love is everything, and I envisioned Kurt Cobain as I wrote him.It just so happens--Virgil, Me, and Kurt Cobain all share the same birthday of February 20th.
Interesting questions. The book is first of all about men--what I think of men, what I think it would be like if I were a man,and how I don't think men are much different than women, emotionally.This is my first novel written with a man as the main character, and I wanted to write a man who was emotional and sensitive, but not a pushover. I always thought Kurt Cobain was the sort of man I would want to be--aside from the drug use. I think he was thoughtful and loving, driven by something beyond himself--that passionate love which causes all artists to create, and this I admire about him. I also mention him because he came from a simple life, and worked diligently to make a name for himself. My character Virgil understands, if one person can do it, he can do it--he can make his dreams come true. Virgil is a dreamer who understands that love is everything, and I envisioned Kurt Cobain as I wrote him.It just so happens--Virgil, Me, and Kurt Cobain all share the same birthday of February 20th.
If there is a message in Precipice, it is that love is love--gay, straight, or lesbian, love is the ultimate goal of any relationship.I wanted to present characters who would be liked because of their personalities, their interests, regardless of their sexuality.This was mostly accomplished with Jackson, who is bisexual, and with Amber, a lesbian who falls in love with a man for the first time.I wanted to write a mainstream novel about sexual diversity without having it labeled a gay or lesbian novel, as I felt this greatly limited the audience it would reach.Besides, sexuality isn't the focus of Precipice.No, sexuality only makes the characters more life-like, more human, more honest.My favorite thing about Precipice, was that I finally found a way to write the multi-dimensional characters which interested me without limiting them to a certain genre of book.In this respect, writing Precipice was a period of total artistic freedom for me.
It is a well known fact that Kurt Cobain supported gay rights, another reason why this novel is dedicated to him.
It is a well known fact that Kurt Cobain supported gay rights, another reason why this novel is dedicated to him.
I recently had a business man ask me if I wrote "love stories?"
"Is that what you read?" I asked him.When he didn't say anything, I proceeded to tell him precisely the sort of literature I am accustomed to reading."Just because I am a woman doesn't mean I read or write love stories."
The truth is, I was livid about his assumption that all I am interested in are love stories, and thought it a sexist and ignorant remark.However, as I got to thinking more about it, I realized some of my favorite stories are love stories, and they happen to be written by men.
Dostoyevsky's "White Nights." F. Scott Fitzgerald's "The Beautiful and Damned." Hemingway's "A Farewell To Arms." Victor Hugo's "Les Miserables." D.H.Lawrence's "Lady Chatterly's Lover." E.M.Forster's "A Room With A View."
If writing a love story means writing a novel with characters who assume a full range of emotions and whose interpersonal relationships are compelling and moving, then "Precipice" is certainly a love story--and proudly so!
As Fitzgerald once wrote: "Only the romanticist preserves the things worth preserving."
"Is that what you read?" I asked him.When he didn't say anything, I proceeded to tell him precisely the sort of literature I am accustomed to reading."Just because I am a woman doesn't mean I read or write love stories."
The truth is, I was livid about his assumption that all I am interested in are love stories, and thought it a sexist and ignorant remark.However, as I got to thinking more about it, I realized some of my favorite stories are love stories, and they happen to be written by men.
Dostoyevsky's "White Nights." F. Scott Fitzgerald's "The Beautiful and Damned." Hemingway's "A Farewell To Arms." Victor Hugo's "Les Miserables." D.H.Lawrence's "Lady Chatterly's Lover." E.M.Forster's "A Room With A View."
If writing a love story means writing a novel with characters who assume a full range of emotions and whose interpersonal relationships are compelling and moving, then "Precipice" is certainly a love story--and proudly so!
As Fitzgerald once wrote: "Only the romanticist preserves the things worth preserving."
As someone who has been depressive since childhood, I have always found literature and music to be the only escape from the darkness. Writing "Precipice" was the only thing which made me feel happy during moments of extreme depression, the only thing which allowed me to sleep at night. I am not the only one who has endured this. Edgar Allen Poe, Sylvia Plath, Virginia Woolf, Vincent Van Gogh, Lord Byron, and William Blake,and Kurt Cobain among others were known for their depression and creativity.
Studies linking creativity and manic-depressive illness, known as bipolar disorder, have shown that because of fluctuations in mood, thought, and behavior, those with bipolar disorder sometimes have moments of unusually focused and creative thinking which result in higher levels of creative productivity. Abstract thinking is a shared trait between creativity and psychopathology often found in writers, especially poets. This correlation is not new and dates back to the time of Aristotle.
"Touched with Fire:Manic-Depressive Illness and the Artistic Temperament" by Kay Redfield Jamison is a fantastic and intriguing read if you wish to expand on this topic. I am certainly not implying that all artists, literary or otherwise, suffer from manic-depressive illness. I simply think it important to recognize this phenomenon, to educate ourselves on psychological issues which affect many of those in our lives, and to remind those with such disorders that they are capable of accomplishing truly amazing things!
Studies linking creativity and manic-depressive illness, known as bipolar disorder, have shown that because of fluctuations in mood, thought, and behavior, those with bipolar disorder sometimes have moments of unusually focused and creative thinking which result in higher levels of creative productivity. Abstract thinking is a shared trait between creativity and psychopathology often found in writers, especially poets. This correlation is not new and dates back to the time of Aristotle.
"Touched with Fire:Manic-Depressive Illness and the Artistic Temperament" by Kay Redfield Jamison is a fantastic and intriguing read if you wish to expand on this topic. I am certainly not implying that all artists, literary or otherwise, suffer from manic-depressive illness. I simply think it important to recognize this phenomenon, to educate ourselves on psychological issues which affect many of those in our lives, and to remind those with such disorders that they are capable of accomplishing truly amazing things!
It is National Writers Month, and I am feeling inspired by so much creative activity surrounding me.I was pondering over what literature--art, actually means to me, the importance of it in the grand scheme of things.
Literature is an art form, and art is the most universal form of communication which exists.Not only is it a means for expressing one's imagination, but for expressing political, spiritual, and philosophical ideas. Art is also a medium used to provoke strong emotions in others, by appealing to the senses. Art reveals much about the state of the world and environment during the time it was created. In fact, it could be said that art is a reflection of society, and society a reflection of art.
Lynn H. Nichol's book "The Rape of Europa" tells about the destruction of Europe's art by the Third Reich during World War II. A failed artist, Adolf Hitler decided to take over the world one country at a time, and found it helpful to destroy a culture by destroying its art. Sometimes, countries were invaded and destroyed based on their wealth of art pieces. Many of the pieces currently housed in the world's great museums only exist because art historians, curators, and heroic individuals put their lives on the line to hide and save these treasures.
What happened during World War II is only one example of the significance art plays in history, in war, in politics--how it affects the world, how it touches lives, and how some have died for it.
Next time you are writing a poem or story, painting a picture, dancing, playing an instrument, or pursuing some other creative activity, remember that these things do matter. These creations are more than hobbies--they're the voices of a society which will be remembered. They have the power to influence masses of people, to sway emotions, to inspire, and they do make a difference.
Literature is an art form, and art is the most universal form of communication which exists.Not only is it a means for expressing one's imagination, but for expressing political, spiritual, and philosophical ideas. Art is also a medium used to provoke strong emotions in others, by appealing to the senses. Art reveals much about the state of the world and environment during the time it was created. In fact, it could be said that art is a reflection of society, and society a reflection of art.
Lynn H. Nichol's book "The Rape of Europa" tells about the destruction of Europe's art by the Third Reich during World War II. A failed artist, Adolf Hitler decided to take over the world one country at a time, and found it helpful to destroy a culture by destroying its art. Sometimes, countries were invaded and destroyed based on their wealth of art pieces. Many of the pieces currently housed in the world's great museums only exist because art historians, curators, and heroic individuals put their lives on the line to hide and save these treasures.
What happened during World War II is only one example of the significance art plays in history, in war, in politics--how it affects the world, how it touches lives, and how some have died for it.
Next time you are writing a poem or story, painting a picture, dancing, playing an instrument, or pursuing some other creative activity, remember that these things do matter. These creations are more than hobbies--they're the voices of a society which will be remembered. They have the power to influence masses of people, to sway emotions, to inspire, and they do make a difference.
I once heard a radio talk show host make a comment to the effect that if people sacrifice their values for a relationship, then the relationship is doomed to fail from the beginning. I started imagining what such a scenario would look like in a movie--people leaving marriages, people abiding by the rules they don't believe in because they are "in love." People sacrificing everything for a relationship, until they feel they have nothing left for themselves, and when it fails, they are left completely broken--or, are they? This concept became a novel which I titled, "Nowhere To End."
I don't know how everyone else works, but for me, sometimes the simple things which we come across everyday make the most interesting stories.
I knew a woman who fell in love with a married man, had an affair, became pregnant by him, and now he is married to her and they are raising their child together. I wondered what it would be like to be the result of an affair--especially if your whole life was spent suffering at the hands of jealous siblings who felt their family life was robbed from them because of YOU. This idea became the entire premise for my novel "Precipice"--a book which shows how sibling rivalry can lead to murder.
The trick to thinking up the perfect story is to make the idea something most people are familiar with, something they can relate to. You must be willing to look at everyday ideas from new angles, to present them in ways which make them seem like new ideas. There must always be the element that what is being presented is NEW, even though we are using words to convey the same human emotions which have been felt since the beginning of time.
This element of making an everyday idea, an old idea, NEW, is also what helps bridge the present and the past. After all, what is literature but documentation of ideas and feelings of a certain time period? When we present ideas which transcend time, then we have an idea which will be read and remembered well into the future.
Next time you are people watching, beware of that bolt of energy which surges through your spine when an idea comes into mind, for it can only mean that you're onto something great--in fact, you're thinking up the perfect story!
I don't know how everyone else works, but for me, sometimes the simple things which we come across everyday make the most interesting stories.
I knew a woman who fell in love with a married man, had an affair, became pregnant by him, and now he is married to her and they are raising their child together. I wondered what it would be like to be the result of an affair--especially if your whole life was spent suffering at the hands of jealous siblings who felt their family life was robbed from them because of YOU. This idea became the entire premise for my novel "Precipice"--a book which shows how sibling rivalry can lead to murder.
The trick to thinking up the perfect story is to make the idea something most people are familiar with, something they can relate to. You must be willing to look at everyday ideas from new angles, to present them in ways which make them seem like new ideas. There must always be the element that what is being presented is NEW, even though we are using words to convey the same human emotions which have been felt since the beginning of time.
This element of making an everyday idea, an old idea, NEW, is also what helps bridge the present and the past. After all, what is literature but documentation of ideas and feelings of a certain time period? When we present ideas which transcend time, then we have an idea which will be read and remembered well into the future.
Next time you are people watching, beware of that bolt of energy which surges through your spine when an idea comes into mind, for it can only mean that you're onto something great--in fact, you're thinking up the perfect story!
When I think of the word "block," I think city block, wooden cube with a letter of the alphabet painted on it, a blocked airway, blocked coronary, block-head, SpongeBob BlockPants, uh SquarePants--and a whole number of other random things. However, writer's block seems to be the most intangible of all of the above, and perhaps the most elusive.
One hears references to authors having momentary writer's block, as though it is a fleeting issue, and not one to worry about. Did you know that some have simply allowed their writing careers to fade away because of the inability to produce literary material? How tragic is that? It spins a tale of passions burned out, of hope lost, of having given up on one's dreams.
Of course, we all have moments when emotions and energies are focused on immediate issues surrounding finances, relationships, depression, physical illness and family obligations. Many of us also put pressure on our own shoulders to outdo our last piece of work. It can all be stifling to the creative flow necessary for writing.
One way to keep creative passions and energies alive is to READ. Read those books which once inspired you to write your own novel. Read to remember the intensity of the emotions someone else's words provoked within you--words which you also are capable of using to move another.
Write down thoughts, feelings, and emotions, similar to what you would write in a journal. They do not have to be full sentences, or even part of a cohesive work. Write. I've learned that sometimes ideas I have jotted down make an interesting paragraph in a chapter I am writing, and those ideas help to set the mood of the story. I personally make sure I do not discard notes or pieces of work I may not be fully satisfied with. Those thoughts may be helpful later on, and may inspire more creativity at another time.
Remember, you are the god of your creative project! There is no rule which says you have to write chronologically. You can start with the ending of your novel, if you feel like it. You can write sections, and later piece the book together. The key is to allow yourself every freedom available when writing--even if this means writing only bits at a time.
That's one really cool thing about writing and art--that no one can tell you how it must be done. It is a piece of work which is yours and yours alone--a thing of beauty which no one can take from you. It is your soul made tangible, and that is your gift to the world.
I don't know that my advice will be of help, I only know those things work for me when I am feeling overwhelmed by the world around me, and perhaps too distracted to write. I do know that passion for the written word burns something fierce within me, and it is something I cannot imagine giving up on. Without literature, this world would be a much darker and lonelier place--so even if you can only write a paragraph today, do so with the knowledge that one more paragraph may be all it takes to complete your first bestseller!
One hears references to authors having momentary writer's block, as though it is a fleeting issue, and not one to worry about. Did you know that some have simply allowed their writing careers to fade away because of the inability to produce literary material? How tragic is that? It spins a tale of passions burned out, of hope lost, of having given up on one's dreams.
Of course, we all have moments when emotions and energies are focused on immediate issues surrounding finances, relationships, depression, physical illness and family obligations. Many of us also put pressure on our own shoulders to outdo our last piece of work. It can all be stifling to the creative flow necessary for writing.
One way to keep creative passions and energies alive is to READ. Read those books which once inspired you to write your own novel. Read to remember the intensity of the emotions someone else's words provoked within you--words which you also are capable of using to move another.
Write down thoughts, feelings, and emotions, similar to what you would write in a journal. They do not have to be full sentences, or even part of a cohesive work. Write. I've learned that sometimes ideas I have jotted down make an interesting paragraph in a chapter I am writing, and those ideas help to set the mood of the story. I personally make sure I do not discard notes or pieces of work I may not be fully satisfied with. Those thoughts may be helpful later on, and may inspire more creativity at another time.
Remember, you are the god of your creative project! There is no rule which says you have to write chronologically. You can start with the ending of your novel, if you feel like it. You can write sections, and later piece the book together. The key is to allow yourself every freedom available when writing--even if this means writing only bits at a time.
That's one really cool thing about writing and art--that no one can tell you how it must be done. It is a piece of work which is yours and yours alone--a thing of beauty which no one can take from you. It is your soul made tangible, and that is your gift to the world.
I don't know that my advice will be of help, I only know those things work for me when I am feeling overwhelmed by the world around me, and perhaps too distracted to write. I do know that passion for the written word burns something fierce within me, and it is something I cannot imagine giving up on. Without literature, this world would be a much darker and lonelier place--so even if you can only write a paragraph today, do so with the knowledge that one more paragraph may be all it takes to complete your first bestseller!
Naked and exposed. That's what it feels like to allow others to read those things you write--even in a fictional story. I can honestly say that my experience as a newly published author has not been an easy one. There are moments when people inquire about what I have written, wanting to know what truths lie behind the scenes I have created. It isn't easy to talk about. It is even more difficult to discuss myself, what I am working on, what I feel about what I write, what I think about myself.
Everyone is afraid of being vulnerable. Humiliation is something most would rather avoid. Having strangers read your deepest feelings can be daunting!
In middle school, I once had a girl tell me to meet her on the playground after school so that she could kick my ass. I agreed, knowing I could either back down and hide from her, or confront her and deal with it. School ended, and I arrived for my ass kicking. She was waiting for me, along with a crowd of students who had arrived for the spectacle. Always one to shy away from physical confrontation, I was terrified! What happened next took only seconds, but it felt like an eternity. She took a step toward me, called me a few choice words, and pushed me. Not knowing what to do, I punched her as hard as I could in the chest. She gasped, coughed, put her hand to her chest, and walked off! That was it--I had won!! As a result, she never looked in my direction again, and I avoided her like the plague.
Our fear of being vulnerable and exposed is like that middle school bully. The build-up is tremendous as our imaginations run wild with what can go wrong when we decide to share an idea, feelings, a beloved piece of art. However, confronting the fear is empowering. It is never as bad as you think it will be.
There is something wonderful about sharing feelings. It connects us with others, it moves people in ways we cannot imagine, and it frees us from imagined humiliation. In reality, few would dare to make fun of another person's work, since most are much too afraid to expose themselves in such a creatively meaningful manner.
Walk up to that microphone--share that poem! Play that song on your guitar next time your friends wish to hear you sing!Dance! Write that story, and pursue publication!You'll feel empowered, you'll boost your confidence, you'll learn that the only things worth pursuing in this life are things which connect hearts, bring together magnificent minds--and you'll enrich the lives of all who pay attention.
Everyone is afraid of being vulnerable. Humiliation is something most would rather avoid. Having strangers read your deepest feelings can be daunting!
In middle school, I once had a girl tell me to meet her on the playground after school so that she could kick my ass. I agreed, knowing I could either back down and hide from her, or confront her and deal with it. School ended, and I arrived for my ass kicking. She was waiting for me, along with a crowd of students who had arrived for the spectacle. Always one to shy away from physical confrontation, I was terrified! What happened next took only seconds, but it felt like an eternity. She took a step toward me, called me a few choice words, and pushed me. Not knowing what to do, I punched her as hard as I could in the chest. She gasped, coughed, put her hand to her chest, and walked off! That was it--I had won!! As a result, she never looked in my direction again, and I avoided her like the plague.
Our fear of being vulnerable and exposed is like that middle school bully. The build-up is tremendous as our imaginations run wild with what can go wrong when we decide to share an idea, feelings, a beloved piece of art. However, confronting the fear is empowering. It is never as bad as you think it will be.
There is something wonderful about sharing feelings. It connects us with others, it moves people in ways we cannot imagine, and it frees us from imagined humiliation. In reality, few would dare to make fun of another person's work, since most are much too afraid to expose themselves in such a creatively meaningful manner.
Walk up to that microphone--share that poem! Play that song on your guitar next time your friends wish to hear you sing!Dance! Write that story, and pursue publication!You'll feel empowered, you'll boost your confidence, you'll learn that the only things worth pursuing in this life are things which connect hearts, bring together magnificent minds--and you'll enrich the lives of all who pay attention.
With her fourth collection of poetry, architect, visual artist and author Hollace M. Metzger once again proves that she is a force to be reckoned with. Despite her formal education, her Bohemian leanings have brought a new voice to the modern world of art--a voice which is existentialist in nature, always true to the philosophy of art for art's sake. I truly believe she is an artist who will be remembered throughout history as one of the greatest artists of our time, and hope this interview will inspire others as it has inspired me.
Male and female energies is a recurring theme in some of your poetry. What is it about this spectrum which interests you?
"It is rooted in many things, one being that I was raised in a very traditional family and I watched my mother juggling between being a mother and wife, but also a professional who set aside her career to raise children. This caused me to question the traditional role of women in society from that era, of course, but I also recognize a kind of collapse of family structure, now, as man and woman generally seem to have more of an independent coexistence rather than union. In my writing, I think many can detect I’m trying to find a medium between these, to understand why we find ourselves together so often but so different, probably for my own life.
I was also the only female in a family of many boys, even cut my hair, dressed, acted like and was often mistaken for a boy. So, I suppose this allowed me to take on two identities at the same time while also teaching me to be a little more balanced, able to understand both females and males... because no matter how much I denied it, there was a feminine biochemistry working inside of me.
What interests me, now, is balance, not only being comfortable in my own skin but, as a writer, in the skin of others, in different cultures, and developing my ability to empathize with all - not just women, caucasian-Americans, heterosexuals, whatever people may think I am. I know I will always be attracted to the unknown as it does often verify what I am or what else I could be."
Was your poetry originally meant to be enjoyed as literature, or did you always intend for it to be performed and recorded as spoken word?
"My poetry began, almost five years ago, as a way to communicate emotions that did not mesh well with others socially, that would be read online. In this way, what I was being told was extreme, “too honest” or “too sensitive” would then be labeled as “creative writing”. Then, when I was getting whatever it was out, I also felt liberated from the professional and politically-correct world I was working in. It quickly received a response that applauded my ability to express myself, so I rolled with it. I realized it was a talent to be able to do this, sometimes called “brave” by others although I like to call it a necessity in life. Presently, it’s simply what I know I must do for me.
I also like to integrate contemporary, perhaps post-modern, philosophies into texts juxtaposed with another side of my thinking and education - the romantic and idealized. Like a contemporary building designed for an historic site, it requires a lot of thought, sensitivity, respect and a true genuflection outwards. Applying this technique orally, even forgotten words or extinct expressions, is my own imaginary and microcosmic opportunity to design a building next to the Louvre, the Roman Forum, in San Marco, etc. and preserving something sensitively.
I only began to record to feel as if I was speaking to people, to reach closer, and was quite terrified to hear the sound of my own voice in the beginning. I think, like many things in my life, this was a method of working that could also allow me to overcome an obstacle rooted in fear. Overcoming fears allows me to feel as if I’ve progressed in my personal development. So, it was a way I could concurrently touch others while doing something for myself."
What do you enjoy most about collaborating with other artists when recording your spoken word poetry?
"If it weren’t for the collaborations, I would probably never read my poems again. So, I do enjoy when the words are re-lived in a shadow of when they were written, particular moments in time are then not so fleeting. Not nostalgia, but more so respecting my experience and cherishing it because, whether positive or negative, it is part of what I am and I have to respect that. With collaborations, I practice meditation to assure I am returned to a place so the sensation of it takes more control than my professional side – it is the time to let go. The artist(s) I’m working with at the time then become a part of that moment and it is truly shared. The musicians, filmmakers, visual artists and others I work with usually come to me already inspired by the words, so it leaves me feeling quite free in what I do and where we go together. They also bring an entirely new element to the scene, a new mood, and I have to be prepared for that especially working with international artists who may have a different take on what a poem means from their experience with the language or in their own culture. I think what I offer them from the beginning is a natural rhythm to work with then they usually surprise me with their response. This past year, I’ve been commissioned to write for other artists’ work and to do this, I need to be immersed in their world or imagine myself to be. The entire process can be very personal and connective as I have yet to work with another artist who has not revealed more than his or her professionalism."
How old were you when you first started writing poetry, and what inspired this?
"I have always seen combinations of words as poetry, the different speaking rhythms of people as well. I played with writing poetry since I was a child, but only to young boys who struck my fancy it seems! I did not begin to know my own position as a possible writer until after I had taken graduate courses of Shakespeare, not required but for some reason needed by me because I truly found social pleasure in nuance, in saying many things at once and allowing others to interpret words for their own needs. I was so overwhelmed by a self-induced standard of work in architecture school that I never had the time to respond with feedback of that experience, however. Or, maybe I wasn’t ready yet. Then, I went to New York and worked even harder... It wasn’t until I had lived in New York for seven years that I needed to capture the rhythm of the city and of my life in other ways than designing stagnant buildings. So, movement became part of my independent creative process after-hours – in painting and writing, often conducted together with both hands. Poetry also became a way to connect with people I couldn’t immediately start a conversation with on the subway, personal exercise in affirming how I feel, at times, and stating what I observed on any particular day. With nobody watching or present to criticize, I could test how free I was with my opinions which eventually proved to be very strong."
Is a poem like a novel taking days or weeks or months to compose? How long does it usually take you to compose a poem?
"I construct it once and do not return to it except if it is required to be recited or recorded. For me, it is an intimate moment in time and belongs as a temporary reflection of that time. If we keep living experiences over again, for whatever reason, then I do fear we will live in a cyclical fashion and never move forward. When I write a poem it is like giving each moment a greater sacred space in time in my life, more respect and appreciation – then, I feel better in leaving it behind. If I need it again it will be there. So, I never sit down for my “writing time”. Sitting down is administrative and, once called a job, I will no longer enjoy it. Poetry, or life-rhythms, come at very peculiar moments and usually not the most convenient. This is why I live with notebooks everywhere in my home. (I’d like to get specific with that, my favorite place, but will spare the details.) It can take between 5 minutes to a couple hours but often my hand moves faster than my mind and writes words even I don’t think I understand. When the inspiration comes, it comes and I cannot stop it. So, I do have to stop everything else I am doing and let it flow although I do wish it would inform me beforehand that it will wake me or how long it will sometimes require to complete."
Eternal Story is the title of your latest book, but it is also the title of a poem found in your book Transcriptions of Time. What significance does this poem have for you?
"It is my journey in life, in discovery, growth and in romantic love. The poem has appeared in the first two books, became a music collaboration and was represented in a self-produced preliminary film response to Duchamp’s Anemic Cinema before its current production in a true film. It’s become a sort of woven vein through my process as a writer, really, which is particular because it was one of the first poems I’d written.
I think the text returns because, as it lists the many places one could have fallen in or made love while traveling and realizing the temporary nature of such experiences, the revival of that poem, to me, perhaps plays with the idea of it being a poem in continuum, composed with multiple “endings” – and I do believe our lives will feel eternal as long as we do not close our minds to new experiences and beliefs. It often reminds me that life will continue and one ending will not paralyze me. This is why it goes through a list of beautiful and painful memories of parting, then simply says “Thank you” to all who have assisted in writing the story. Sure, there is a lot of rage in the mix as well. Often hidden in my writing is such cynicism, recognition of a personal peaceful end-state as revenge... or, more sweetly stated, as a mirror."
Who are some of your favorite poets and/or artists?
"I am most inspired by visual artists but, more so, by people with a story who seem to be seeking something deeper about life with that art: painters, architects, sculptors, poets, musicians, composers, philosophers but Seekers, really, most going against the grain, a bit more rebellious and forthright, the unedited storytellers. What I also like is that, often, their work – because it has no historic model – is non-linear in thought, especially words, is random and often more telling than art that is so polished – the sketches, the roughness, the truths.
When a work inspires me, I often learn as much as I can about the life of the artist, not so much his or her entire scope of works. People who have inspired me in this way (adding their own essential personality) and by their method of creating include: Neruda, Anais Nin, Jackson Pollock, Alberto Giacometti, Picasso, Frank Lloyd Wright, Philip Glass, Arvo Part, Bach, Bob Dylan, John Dowland, Fabrizio de Andre, Santiago Calatrava, Renzo Piano, Apollinaire, Rimbaud, Henry Miller, Ayn Rand, Kerouac, Ginsberg, Brassens, Desnos, Keith Jarrett, Vivaldi, Roland Barthes... Well, the list is quite long. It seems many of them lived what they created as if their creating was professing their religious belief. And I think when someone is true to his or her art, has lived it and is not only creating for public appeal, we can sense its sanctity.
Also and very personal to me, artists who worked in a cross-disciplinary fashion because they needed to, as I have learned exercising all senses each day heightens my consciousness of living, gives me strength feeding each other art while even expanding my ability and confidence into other forms of expression. Artists who seem to have lived this way are my gurus, at present, and I always hope to visualize what I write, hear what I paint, write what I hear, feel or see, etc. and eventually be able to build it all."
Which one of your poems do you feel most proud of?
"I am not so much proud of what I write as I am moved by the response of others. So, it’s not my artistry I rely on for this as much as feedback from people who have felt something personal to me – again, connectivity. I’ve had a few people inform me of how pieces I’ve written have helped them through difficult periods in their lives, one saying she read a poem repeatedly the night she was prepared for suicide. Then, she did not proceed with it.
I am moved when somebody else feels, smells, tastes, touches and lives an experience I try to share – often effective in a rhythm like the poem “Return Ticket”. Or, when someone feels empathy towards an outcast in society, as has happened with the poem “Twitch”.
If I have to say which I think are most successful in conveying an experience or opinion it would be those where I state something most cannot bring themselves to say, where I state something of my person most attempt to hide, the poems I’ve been told are “brave”, have been judged by or have lost or gained friends with. If I must answer this question, the poem I will write today I am most proud of – I am proud I still live reasons to write."
As an American currently residing in Paris, you have lived in several countries. Which city, place, or person do you think of as home?
"Apropos, “Where the heart is.” For me, this constantly shifts. When I live in a place where people know too much about me, I am not drawn to remain there. I do live a life of high disclosure, a promise to myself I suppose, so maybe this makes it easier to move on as I have not yet found my place.
I often write about a home, the sensation of feeling at home, but this is more so a feeling of physical comfort, meditative space and acceptance from people. I enjoy small towns and communities for their closeness and how their inhabitants rely on each other, but also appreciate anonymity in metropolises like I had in New York. Somewhere in the middle would be nice, but suburbs always prove to be distasteful as well. For now, I have friends and reminders of different homes I have made in many cities and I like being able to pop into see friends or family wherever I find myself because my life led me there at that time.
New York allowed me to have most freedoms I desired but the one that seemed to me hampered was an ability to express myself with passion – not just in art, but in life. I had always imagined this could be more acceptable in a place where language and the body were used in a more communicative way culturally and I did feel this to quite an extent in Italy. I lived in Venice for two years, and continue to try to live there again, because not just did I feel I had these freedoms, but its mystery and temporary life span also maintained my intrigue."
What advice would you give to other aspiring poets and artists?
"I believe the visionaries and true reflections of society will be rewarded after their lives. Those being rewarded now are giving the public what it needs now, usually applauding its current state and clearing consciences.
I’d advise others it won’t be easy if you are motivated by the truth within yourself and exposing it with honesty. If we begin from there, I would give two lists: One, to be a successful writer publicly and be paid for it. Two, to feel success under your unpolished skin, as if you have rightly stated your case in this life. Like most studies and professions, there are always two schools and I have chosen to follow only one, the one I can live with."
To learn more about Hollace Metzger, please visit her website www.hollacemetzger.com or visit her on Facebook.
The following books may be ordered online through: office@hollacemetzger.com,amazon and lulu.com
Observing the Labyrinth From Heaven Vols. I & II (2008)
Transcriptions of Time (2009)
Why The Willow (2010)
Eternal Story (2011)
Male and female energies is a recurring theme in some of your poetry. What is it about this spectrum which interests you?
"It is rooted in many things, one being that I was raised in a very traditional family and I watched my mother juggling between being a mother and wife, but also a professional who set aside her career to raise children. This caused me to question the traditional role of women in society from that era, of course, but I also recognize a kind of collapse of family structure, now, as man and woman generally seem to have more of an independent coexistence rather than union. In my writing, I think many can detect I’m trying to find a medium between these, to understand why we find ourselves together so often but so different, probably for my own life.
I was also the only female in a family of many boys, even cut my hair, dressed, acted like and was often mistaken for a boy. So, I suppose this allowed me to take on two identities at the same time while also teaching me to be a little more balanced, able to understand both females and males... because no matter how much I denied it, there was a feminine biochemistry working inside of me.
What interests me, now, is balance, not only being comfortable in my own skin but, as a writer, in the skin of others, in different cultures, and developing my ability to empathize with all - not just women, caucasian-Americans, heterosexuals, whatever people may think I am. I know I will always be attracted to the unknown as it does often verify what I am or what else I could be."
Was your poetry originally meant to be enjoyed as literature, or did you always intend for it to be performed and recorded as spoken word?
"My poetry began, almost five years ago, as a way to communicate emotions that did not mesh well with others socially, that would be read online. In this way, what I was being told was extreme, “too honest” or “too sensitive” would then be labeled as “creative writing”. Then, when I was getting whatever it was out, I also felt liberated from the professional and politically-correct world I was working in. It quickly received a response that applauded my ability to express myself, so I rolled with it. I realized it was a talent to be able to do this, sometimes called “brave” by others although I like to call it a necessity in life. Presently, it’s simply what I know I must do for me.
I also like to integrate contemporary, perhaps post-modern, philosophies into texts juxtaposed with another side of my thinking and education - the romantic and idealized. Like a contemporary building designed for an historic site, it requires a lot of thought, sensitivity, respect and a true genuflection outwards. Applying this technique orally, even forgotten words or extinct expressions, is my own imaginary and microcosmic opportunity to design a building next to the Louvre, the Roman Forum, in San Marco, etc. and preserving something sensitively.
I only began to record to feel as if I was speaking to people, to reach closer, and was quite terrified to hear the sound of my own voice in the beginning. I think, like many things in my life, this was a method of working that could also allow me to overcome an obstacle rooted in fear. Overcoming fears allows me to feel as if I’ve progressed in my personal development. So, it was a way I could concurrently touch others while doing something for myself."
What do you enjoy most about collaborating with other artists when recording your spoken word poetry?
"If it weren’t for the collaborations, I would probably never read my poems again. So, I do enjoy when the words are re-lived in a shadow of when they were written, particular moments in time are then not so fleeting. Not nostalgia, but more so respecting my experience and cherishing it because, whether positive or negative, it is part of what I am and I have to respect that. With collaborations, I practice meditation to assure I am returned to a place so the sensation of it takes more control than my professional side – it is the time to let go. The artist(s) I’m working with at the time then become a part of that moment and it is truly shared. The musicians, filmmakers, visual artists and others I work with usually come to me already inspired by the words, so it leaves me feeling quite free in what I do and where we go together. They also bring an entirely new element to the scene, a new mood, and I have to be prepared for that especially working with international artists who may have a different take on what a poem means from their experience with the language or in their own culture. I think what I offer them from the beginning is a natural rhythm to work with then they usually surprise me with their response. This past year, I’ve been commissioned to write for other artists’ work and to do this, I need to be immersed in their world or imagine myself to be. The entire process can be very personal and connective as I have yet to work with another artist who has not revealed more than his or her professionalism."
How old were you when you first started writing poetry, and what inspired this?
"I have always seen combinations of words as poetry, the different speaking rhythms of people as well. I played with writing poetry since I was a child, but only to young boys who struck my fancy it seems! I did not begin to know my own position as a possible writer until after I had taken graduate courses of Shakespeare, not required but for some reason needed by me because I truly found social pleasure in nuance, in saying many things at once and allowing others to interpret words for their own needs. I was so overwhelmed by a self-induced standard of work in architecture school that I never had the time to respond with feedback of that experience, however. Or, maybe I wasn’t ready yet. Then, I went to New York and worked even harder... It wasn’t until I had lived in New York for seven years that I needed to capture the rhythm of the city and of my life in other ways than designing stagnant buildings. So, movement became part of my independent creative process after-hours – in painting and writing, often conducted together with both hands. Poetry also became a way to connect with people I couldn’t immediately start a conversation with on the subway, personal exercise in affirming how I feel, at times, and stating what I observed on any particular day. With nobody watching or present to criticize, I could test how free I was with my opinions which eventually proved to be very strong."
Is a poem like a novel taking days or weeks or months to compose? How long does it usually take you to compose a poem?
"I construct it once and do not return to it except if it is required to be recited or recorded. For me, it is an intimate moment in time and belongs as a temporary reflection of that time. If we keep living experiences over again, for whatever reason, then I do fear we will live in a cyclical fashion and never move forward. When I write a poem it is like giving each moment a greater sacred space in time in my life, more respect and appreciation – then, I feel better in leaving it behind. If I need it again it will be there. So, I never sit down for my “writing time”. Sitting down is administrative and, once called a job, I will no longer enjoy it. Poetry, or life-rhythms, come at very peculiar moments and usually not the most convenient. This is why I live with notebooks everywhere in my home. (I’d like to get specific with that, my favorite place, but will spare the details.) It can take between 5 minutes to a couple hours but often my hand moves faster than my mind and writes words even I don’t think I understand. When the inspiration comes, it comes and I cannot stop it. So, I do have to stop everything else I am doing and let it flow although I do wish it would inform me beforehand that it will wake me or how long it will sometimes require to complete."
Eternal Story is the title of your latest book, but it is also the title of a poem found in your book Transcriptions of Time. What significance does this poem have for you?
"It is my journey in life, in discovery, growth and in romantic love. The poem has appeared in the first two books, became a music collaboration and was represented in a self-produced preliminary film response to Duchamp’s Anemic Cinema before its current production in a true film. It’s become a sort of woven vein through my process as a writer, really, which is particular because it was one of the first poems I’d written.
I think the text returns because, as it lists the many places one could have fallen in or made love while traveling and realizing the temporary nature of such experiences, the revival of that poem, to me, perhaps plays with the idea of it being a poem in continuum, composed with multiple “endings” – and I do believe our lives will feel eternal as long as we do not close our minds to new experiences and beliefs. It often reminds me that life will continue and one ending will not paralyze me. This is why it goes through a list of beautiful and painful memories of parting, then simply says “Thank you” to all who have assisted in writing the story. Sure, there is a lot of rage in the mix as well. Often hidden in my writing is such cynicism, recognition of a personal peaceful end-state as revenge... or, more sweetly stated, as a mirror."
Who are some of your favorite poets and/or artists?
"I am most inspired by visual artists but, more so, by people with a story who seem to be seeking something deeper about life with that art: painters, architects, sculptors, poets, musicians, composers, philosophers but Seekers, really, most going against the grain, a bit more rebellious and forthright, the unedited storytellers. What I also like is that, often, their work – because it has no historic model – is non-linear in thought, especially words, is random and often more telling than art that is so polished – the sketches, the roughness, the truths.
When a work inspires me, I often learn as much as I can about the life of the artist, not so much his or her entire scope of works. People who have inspired me in this way (adding their own essential personality) and by their method of creating include: Neruda, Anais Nin, Jackson Pollock, Alberto Giacometti, Picasso, Frank Lloyd Wright, Philip Glass, Arvo Part, Bach, Bob Dylan, John Dowland, Fabrizio de Andre, Santiago Calatrava, Renzo Piano, Apollinaire, Rimbaud, Henry Miller, Ayn Rand, Kerouac, Ginsberg, Brassens, Desnos, Keith Jarrett, Vivaldi, Roland Barthes... Well, the list is quite long. It seems many of them lived what they created as if their creating was professing their religious belief. And I think when someone is true to his or her art, has lived it and is not only creating for public appeal, we can sense its sanctity.
Also and very personal to me, artists who worked in a cross-disciplinary fashion because they needed to, as I have learned exercising all senses each day heightens my consciousness of living, gives me strength feeding each other art while even expanding my ability and confidence into other forms of expression. Artists who seem to have lived this way are my gurus, at present, and I always hope to visualize what I write, hear what I paint, write what I hear, feel or see, etc. and eventually be able to build it all."
Which one of your poems do you feel most proud of?
"I am not so much proud of what I write as I am moved by the response of others. So, it’s not my artistry I rely on for this as much as feedback from people who have felt something personal to me – again, connectivity. I’ve had a few people inform me of how pieces I’ve written have helped them through difficult periods in their lives, one saying she read a poem repeatedly the night she was prepared for suicide. Then, she did not proceed with it.
I am moved when somebody else feels, smells, tastes, touches and lives an experience I try to share – often effective in a rhythm like the poem “Return Ticket”. Or, when someone feels empathy towards an outcast in society, as has happened with the poem “Twitch”.
If I have to say which I think are most successful in conveying an experience or opinion it would be those where I state something most cannot bring themselves to say, where I state something of my person most attempt to hide, the poems I’ve been told are “brave”, have been judged by or have lost or gained friends with. If I must answer this question, the poem I will write today I am most proud of – I am proud I still live reasons to write."
As an American currently residing in Paris, you have lived in several countries. Which city, place, or person do you think of as home?
"Apropos, “Where the heart is.” For me, this constantly shifts. When I live in a place where people know too much about me, I am not drawn to remain there. I do live a life of high disclosure, a promise to myself I suppose, so maybe this makes it easier to move on as I have not yet found my place.
I often write about a home, the sensation of feeling at home, but this is more so a feeling of physical comfort, meditative space and acceptance from people. I enjoy small towns and communities for their closeness and how their inhabitants rely on each other, but also appreciate anonymity in metropolises like I had in New York. Somewhere in the middle would be nice, but suburbs always prove to be distasteful as well. For now, I have friends and reminders of different homes I have made in many cities and I like being able to pop into see friends or family wherever I find myself because my life led me there at that time.
New York allowed me to have most freedoms I desired but the one that seemed to me hampered was an ability to express myself with passion – not just in art, but in life. I had always imagined this could be more acceptable in a place where language and the body were used in a more communicative way culturally and I did feel this to quite an extent in Italy. I lived in Venice for two years, and continue to try to live there again, because not just did I feel I had these freedoms, but its mystery and temporary life span also maintained my intrigue."
What advice would you give to other aspiring poets and artists?
"I believe the visionaries and true reflections of society will be rewarded after their lives. Those being rewarded now are giving the public what it needs now, usually applauding its current state and clearing consciences.
I’d advise others it won’t be easy if you are motivated by the truth within yourself and exposing it with honesty. If we begin from there, I would give two lists: One, to be a successful writer publicly and be paid for it. Two, to feel success under your unpolished skin, as if you have rightly stated your case in this life. Like most studies and professions, there are always two schools and I have chosen to follow only one, the one I can live with."
To learn more about Hollace Metzger, please visit her website www.hollacemetzger.com or visit her on Facebook.
The following books may be ordered online through: office@hollacemetzger.com,amazon and lulu.com
Observing the Labyrinth From Heaven Vols. I & II (2008)
Transcriptions of Time (2009)
Why The Willow (2010)
Eternal Story (2011)
Lights out--except for those shining above the stage where every instrument sits to the side, leaving a sitar as the focus. The crowd hushes, instinctively rising from their seats in honor of one of the finest musicians of our day. Not only is he a fine musician but the world's greatest sitar player. At ninety-one years of age, he has earned the respect of the masses.
"Welcome onto the stage--The Maestro Ravi Shankar!"
With a spotlight over him, he walked onto the stage with utmost care--frail with age, but powerful in presence. Dressed in white robes, he had a childlike air about him, almost as if he were not an old man at all, but a child skipping onto the stage.
It was at this moment that I understood something fundamental about this night's performance. As his hands held the sitar, I could see in my mind's eye the many nights and years he has played the sitar. I could see him as a young man, vivacious and laughing as he often does in old videos on YouTube. I could see him as he aged, and realized--his LIFE has been spent sharing his passion for art and beauty--sharing, because he wanted others to feel what he feels when experiencing art. It was an honor I will not have again.
Born April 7, 1920, he gave up dancing in order to study the sitar. He studied until 1944 when he began composing music for ballets. He has written concertos for sitar as well as orchestra. He has received fourteen doctorates, Grammy's, and other prestigious awards from around the world.
It is Ravi Shankar and George Harrison (from The Beatles) who are credited with introducing Indian classical music to the Western World in the 1960's and 1970's.
The performance was magnetic and beautiful. I was dumbstruck at how quickly his fingers plucked the strings of his sitar.
As for Ravi Shankar's instrument of choice--the sitar, here are a few facts:
*a sitar can have 21, 22, or 23 strings while a guitar often has 6.
*sitars have been around since Medieval Times.
"Welcome onto the stage--The Maestro Ravi Shankar!"
With a spotlight over him, he walked onto the stage with utmost care--frail with age, but powerful in presence. Dressed in white robes, he had a childlike air about him, almost as if he were not an old man at all, but a child skipping onto the stage.
It was at this moment that I understood something fundamental about this night's performance. As his hands held the sitar, I could see in my mind's eye the many nights and years he has played the sitar. I could see him as a young man, vivacious and laughing as he often does in old videos on YouTube. I could see him as he aged, and realized--his LIFE has been spent sharing his passion for art and beauty--sharing, because he wanted others to feel what he feels when experiencing art. It was an honor I will not have again.
Born April 7, 1920, he gave up dancing in order to study the sitar. He studied until 1944 when he began composing music for ballets. He has written concertos for sitar as well as orchestra. He has received fourteen doctorates, Grammy's, and other prestigious awards from around the world.
It is Ravi Shankar and George Harrison (from The Beatles) who are credited with introducing Indian classical music to the Western World in the 1960's and 1970's.
The performance was magnetic and beautiful. I was dumbstruck at how quickly his fingers plucked the strings of his sitar.
As for Ravi Shankar's instrument of choice--the sitar, here are a few facts:
*a sitar can have 21, 22, or 23 strings while a guitar often has 6.
*sitars have been around since Medieval Times.
