The Poet as Cartographer

IF 0.1 4区 文学 0 LITERATURE AMERICAN BOOK REVIEW Pub Date : 2023-11-29 DOI:10.1353/abr.2023.a913421
E. Ethelbert Miller
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In our poem \"One of Us Is Missing\" Miho and I write:</p> <blockquote> <p><span>I no longer know where I am going.</span><span>I should sell my shoes for food.</span><span>I cannot find a map.</span></p> </blockquote> <p>I've always been curious about the cartography of collaboration. How does one follow another without a map? Which tends to bring me back to governmental policies adopted to deal with a crisis. How often does our leadership seem to be clueless or just lost? What is the connection between collaboration and democracy? What is the price of collaboration, and what must one sell to be successful?</p> <p>Once when I wrote to Miho and told her I missed her, she responded back that she didn't know she was missing. I chuckled after she told me this, but reflecting on her comments much later, her response seemed to summarize the poem \"One of Us Is Missing.\" We began the second stanza of the poem with this intriguing line:</p> <blockquote> <p><span>How will I survive without the others?</span></p> </blockquote> <p>So much is broken in today's world. War shatters peace. People become scattered pieces. There is a longing to connect, to return home, or to discover new homes. The invention of self is performance art. Every narrative is a <strong>[End Page 89]</strong> potential passport into newness and a conversation with oneself or another. Miho and I used the term \"twoness\" to describe what we were doing. We started exchanging lines back and forth by email. Since our work is very different in style and tone, Miho described our collaboration as improvisational while I considered it to be more call-and-response. I found our exchanges spiritual and, at times, having a Zen quality. 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The joy of writing, the pleasure of words, is the foundation of our friendship.</p> <p>A number of writers have asked Miho and me about our process. How do we collaborate? How does one \"practice\" twoness? Can it be taught? The poet must be a cartographer. If one wants to understand our process, then we have to explain longitude and latitude. We have to explain the mountains and valleys in the words we share. We need to know where land and water are. This shapes our process by creating what might be called blueprints. I think we started \"sketching\" our collaboration when we decided to read and discuss books together. We were able to assess each other's critical eye when it came to reading and understanding a text. We saw one paragraph through two pairs of eyes. Talking about books established the foundation for a common <strong>[End Page 90]</strong> language. 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Abstract

In lieu of an abstract, here is a brief excerpt of the content:

  • The Poet as Cartographer
  • E. Ethelbert Miller (bio)

During a recorded Zoom conversation with Miho Kinnas, a Japanese poet and translator, I found myself thinking about why we had begun collaborating on writing poems together. Was this the result of a pandemic hangover? Had we become addicted to the daily exchanging of emails and the discussion of the work by Chilean novelists? What brings writers together when they step outside workshops and cafés? What is the relationship between collaboration and community organizing? What does it mean to share lines and stanzas of poems when walls are being constructed to keep migrants and refugees out? In our poem "One of Us Is Missing" Miho and I write:

I no longer know where I am going.I should sell my shoes for food.I cannot find a map.

I've always been curious about the cartography of collaboration. How does one follow another without a map? Which tends to bring me back to governmental policies adopted to deal with a crisis. How often does our leadership seem to be clueless or just lost? What is the connection between collaboration and democracy? What is the price of collaboration, and what must one sell to be successful?

Once when I wrote to Miho and told her I missed her, she responded back that she didn't know she was missing. I chuckled after she told me this, but reflecting on her comments much later, her response seemed to summarize the poem "One of Us Is Missing." We began the second stanza of the poem with this intriguing line:

How will I survive without the others?

So much is broken in today's world. War shatters peace. People become scattered pieces. There is a longing to connect, to return home, or to discover new homes. The invention of self is performance art. Every narrative is a [End Page 89] potential passport into newness and a conversation with oneself or another. Miho and I used the term "twoness" to describe what we were doing. We started exchanging lines back and forth by email. Since our work is very different in style and tone, Miho described our collaboration as improvisational while I considered it to be more call-and-response. I found our exchanges spiritual and, at times, having a Zen quality. But how does one construct a poem together? How does one build a shelter or home? What are the politics of collaboration? Is it shaped by form or content? Do we need a map to help us explore? I believe there might be four levels required for collaboration:

Intent

Process

Result

Transformation

Every collaboration has an origin story. Intent begins with desire. The wanting to create something new and different. The search for synergy and communion. The strengthening of vision and the extending of the capacity to love. Intent in many ways is the Beloved Community, an ideal community that many have spoken of and long to see in the world. If a Beloved Community doesn't exist, one must work to bring it into existence. Collaboration is a rose blooming. Art possesses a sweet fragrance. A poem is saturated with beauty. The desire to bring or restore beauty to the world is what I believe Miho and I have always shared. The joy of writing, the pleasure of words, is the foundation of our friendship.

A number of writers have asked Miho and me about our process. How do we collaborate? How does one "practice" twoness? Can it be taught? The poet must be a cartographer. If one wants to understand our process, then we have to explain longitude and latitude. We have to explain the mountains and valleys in the words we share. We need to know where land and water are. This shapes our process by creating what might be called blueprints. I think we started "sketching" our collaboration when we decided to read and discuss books together. We were able to assess each other's critical eye when it came to reading and understanding a text. We saw one paragraph through two pairs of eyes. Talking about books established the foundation for a common [End Page 90] language. Here Miho...

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作为制图师的诗人
在与日本诗人兼翻译家Miho Kinnas的对话录音中,我发现自己在思考为什么我们会开始合作写诗。这是大流行后遗症的结果吗?我们是否已经沉迷于每天交换电子邮件和讨论智利小说家的作品?当作家走出工作室和咖啡馆时,是什么让他们走到一起?协作和社区组织之间的关系是什么?当人们正在建造隔离移民和难民的围墙时,分享诗歌的诗句和诗节意味着什么?在我们的诗“我们中的一个失踪了”中,我和美穗写道:我不再知道我要去哪里。我应该把鞋卖了换吃的。我找不到地图。我一直对合作的地图很好奇。没有地图,一个人怎么跟着另一个人?这就把我带回到政府应对危机所采取的政策。我们的领导层有多少次显得毫无头绪或者只是迷失了方向?合作与民主之间的联系是什么?合作的代价是什么?一个人必须卖什么才能成功?有一次我写信给美穗,告诉她我想念她,她回复说她不知道自己在想念她。她告诉我后,我咯咯地笑了起来,但很久以后回想起她的评论,她的回答似乎总结了这首诗“我们中的一个失踪了”。这首诗的第二节以这句有趣的诗句开头:没有别人,我将如何生存?今天的世界已经破碎了太多。战争破坏和平。人们变成了碎片。人们渴望联系,渴望回家,渴望发现新家。自我的发明是行为艺术。每一个叙述都是通往新鲜事物的潜在通行证,是与自己或他人的对话。Miho和我用“双重性”这个词来形容我们的工作。我们开始通过电子邮件来回交换台词。由于我们的作品在风格和基调上非常不同,Miho将我们的合作描述为即兴创作,而我认为它更像是一种呼唤和回应。我发现我们的交流很有精神,有时还带有禅意。但是一个人是如何组成一首诗的呢?一个人如何建造庇护所或家园?合作的政治是什么?它是由形式还是内容塑造的?我们需要地图来帮助我们探索吗?我认为合作可能需要四个层次:意图过程结果转换每个合作都有一个起源故事。意图始于欲望。想要创造一些新的和不同的东西。寻求协同和交流。视野的增强和爱的能力的扩展。意愿在许多方面都是至爱的社区,一个许多人已经谈到并渴望在世界上看到的理想社区。如果一个心爱的社区不存在,你必须努力使它存在。合作是一朵盛开的玫瑰。艺术有一种芳香。一首诗充满了美。我相信美穗和我一直都有为世界带来或恢复美丽的愿望。写作的乐趣,文字的乐趣,是我们友谊的基础。许多作家向我和Miho询问了我们的过程。我们如何合作?一个人如何“实践”二性呢?这是可以教的吗?诗人一定是制图师。如果有人想了解我们的过程,那么我们必须解释经度和纬度。我们必须用我们共同的语言来解释这些山脉和山谷。我们需要知道陆地和水在哪里。这通过创造所谓的蓝图来塑造我们的过程。我认为,当我们决定一起阅读和讨论书籍时,我们就开始“勾画”我们的合作。当涉及到阅读和理解一篇文章时,我们能够评估彼此挑剔的眼光。我们用两双眼睛看一段话。谈论书籍为一种通用语言奠定了基础。这里Miho……
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AMERICAN BOOK REVIEW
AMERICAN BOOK REVIEW LITERATURE-
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