LitFuse

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September 9-11, in Tieton, Washington.

Tieton: Vicki's Cafe

This is huge for me, because my mother grew up in Tieton–and some of my most important memories root there.

This year’s LiTFUSE lineup includes Marvin Bell (yes, that Marvin Bell), Jane Alynn, Judith Roche, Allen Braden, Carolyne Wright, Eugenia Toledo, and more–including me.

I’ll be leading a session on writing and moving–which means combining writing, my background in moving, and my most favorite place. Yes, I’m excited!

If you’ve never been to Washington, this is a wonderful chance: Fly into Seattle (the citiest here), drive to the dry side of the Cascades, and write in a small town surrounded by apple, pear, and cherry orchards.

Join us!

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Don’t burn out–come to LitFuse

This came to my inbox, and I want to share it, with high recommendations. I may be crushing; otherwise, I’ll be at the heart of harvest and poetry in Tieton.

LiTFUSE Poets’ Workshop

Dear Poet:

There are many reasons why we don’t take the leap to embrace our authentic selves. Worries about money, the kids, job obligations; unwillingness to go over the mountains or to try something unknown.

All I can say is that every single person who has set those concerns aside and gone to LiTFUSE Poets’ Workshop has been grateful they did so. They often come to me and say it was the best thing they did all year.

LiTFUSE is just over two weeks away, 10.8-10. Although there are plenty of fun Friday events, all the main workshops are on Saturday & Sunday. The cost is only $135, including the Poets’ Banquet on Saturday night. Life’s cares will still be there when you get back, but you’ll have a refreshed spirit and new inspiration.

LiTFUSE only happens once a year. Please, won’t you join us?

10.8-10.10, Mighty Tieton, near Yakima. A few free stays still available for those in need. Please CLICK HERE for the schedule or CLICK HERE to go directly to the registration page.

Northwest Writers UNiTE!

Michael Schein
LiTFUSE Director
michael@litfuse.us
www.litfuse.us

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I had an amazing time at LitFuse this year. At the Friday master class taught by Lorna Dee Cervantes, I learned so much. I’m ready to revisit and, yes, re-vision just about everything I’ve written.

And the weekend just kept going, with good poet company and breakout sessions on ekphrastic art and guerilla poetry and revision and writing the dead and a Day of the Dead ceremony and a keynote by Lorna Dee. I even managed to scratch out a few pieces that could become poems.

I came home exhausted and all charged up. Ready to write.

Art: A barn hanging from the ceiling.
The shrine for El Dia de los Muertos.

A picture of my grandmother on her back porch in Tieton and a poem I wrote for her.

Outside the door where I stayed.

A.K. “Mimi” Allin’s Spoon River guerilla poetry installation.

A dry creekbed in a special refuge.

Vicki’s cafe, Tieton, as I was leaving town.

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At the LitFuse workshop in Tieton this past weekend, during a panel on the poet’s role in the American Empire, the subject of political poetry became the focus. This makes sense.

The conversation included discussions of good versus bad political poetry, protest versus subversion, whether poets and other artists have an obligation to speak politically, preaching to the choir, and the use of language as a club (this came up in the context of the government and the strangely collusive mainstream media; however, political poetry can also use language as a club).

I didn’t ask any questions then. I wanted to hear what other people asked. Since then, I’ve come up with some questions.

  1. Why no mention of Naomi Shihab Nye?
  2. Can poetry expand beyond its “choir” by avoiding guilt?
  3. Could the role of poetry, even political poetry, be to bring someone to think of a situation in a new way? Could that expand its audience beyond the choir?
  4. Can political poetry work even when cloaked in metaphor? I wanted to provide this wonderful example from the special translations edition of POETRY in 2006, but I was unable to find the poem online. In it, the poet uses the metaphor of a woman to describe his city (possibly “Twilight in Delhi,” but I couldn’t confirm it). If you know of it or remember it, please let me know.

This is just a start. I’m sure there are many more questions. If you have some—or if you have some thoughts or answers—please add them.

In the meantime, I have a couple of political poems in Limbs of the Pine, Peaks of the Range. But they are very subtle. If I didn’t mention it, you might want to know.

When do you speak up—strongly enough to be heard? How can you speak up in a positive and inclusive way?

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This past weekend, I traveled to Tieton, Washington with the intrepid Kathleen Flenniken (who drove) and Susan Rich. There, in a small town amid orchards growing gold in late autumn, we met up with poets from all over the state and even Pennsylvania.

I was staying at my aunt and uncle’s house, and my uncle pointed out that I really needed a vehicle instead of walking into town.

On Saturday, I drove my borrowed silver pickup truck toward town, turned on Sharp Road (wasn’t the route on the map, but I love Sharp Road), and got lost. Or, shall we say, took a very circuitous route. It was sunny and gold and Mount Clemens rose over the valley and I made it to the workshop in time for coffee. Goodness.

After the opening group meditation, I took a morning class with Kathleen on “Taking the Dross Out”—how to figure out what really needs to be in your poem.

At lunch, we dragged chairs out into the parking area and soaked up the sun. It was warm and the sky stayed blue both days.

In the afternoon, I had my first taste of typesetting in the letterpress section. I was instantly enthralled. Something tactile that even I could do.

Then we attended a panel on (and I paraphrase) the role of the poet in the American Empire.

At dinner’s end, Susan spoke of her experiences and read poems. That sounds very light. It wasn’t light. It was moving.

We strolled back to the warehouse under a sky of many stars and watched the movie “Voices in Wartime,” which discusses the role that poetry holds in conflict.

By then, it was late—and dark. So dark. So dark that I took another circuitous route home. Clearly, I am not a cartographer and certainly not a navigator.

On Sunday morning (after another long road into town), we printed our set type. We stepped on the pedal, placed the paper, and then rolled it over the printer bed. Awesome! I dubbed myself “the printer pig,” mostly because everyone else was busy chatting.

Later, I sat in on Cody Walker’s session on synesthesia in poetry. We dragged our chairs out to the deck to bask in the sun and discussed Dickinson and Baudelaire and some very astute middle school students.

The weekend wrapped up with an open mike and a closing meditation. After that, we watched the sun drift down as we drove west toward Seattle.

A fine weekend, indeed. If LitFuse is lit next year, be sure to be there.

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