There are three things I want to tell you about publishing and community.
Increasingly, I see publishing as the act of making language public. That action may result in a book, a broadside, a postcard, a wall installation, or an audio tour. In any case, it results in something that can be experienced away from the body of the “writer.” Publishing includes curation and framing. Always. If I print 100 copies of my beautiful new poem, and pass these poems out to you, then I am publishing within a frame. There is the size of the paper, the color, the font, the layout. The method of delivery. I pass a single sheet of paper out to you at an academic conference. I may send several sheets of paper in the mail, paper that is perfect bound, trimmed, covered, and called a book. I may sell that book to you at the AWP book fair, at LitFest Pasadena, or at a reading. I may put a postcard in that book, a postcard printed with a line from a poem by Jennifer Karmin, and when you send that postcard in the mail, you help me publish too.
Of the many recognitions that rush to mind as I read NourbeSe Philip’s thirst-quenching essay, the boldest is the memory of a woman who, at a gathering of writers and scholars not many years ago asked me, in a hotly confidential tone, “but, Mecca, do black people really read?” She was a white woman much older than me, one who I knew, and who was very comfortable with her own relationship to words.
In Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry, I discuss at length Harryette Mullen’s book-length blues epic, Muse & Drudge. Mullen is an African American poet whose work has been unreservedly embraced across a range of audiences as exemplary of black innovative poetics. Muse & Drudge — along with others of her books — is taught in courses designed to illuminate modernist and postmodernist genealogies within US poetry and, likewise, in courses surveying the tradition(s) of African American poetry. My analysis of Muse & Drudge identifies and problematizes the tendency for both of these contexts to produce (differently) skewed readings of this complex, polyvocal text.
Brenda Hillman’s poetry circumnavigates around the overarching interest of spirit, matter, and everything in between. Even though Hillman’s work is often uncategorizable, she works within a vein that combines traditional lyric as well as more experimental forms. In addition, she incorporates various theologies and esoteric philosophies in her writing. Hillman has said of herself, “I think of myself as a mystic in a practical way.” Hillman blends cultural references, nature, and the spiritual with an open lyric form that leaves room for mystical experiences to occur on the page. Hillman’s poetry can be read as enacting an alchemical process where spirit is turned into matter and matter into spirit.