Michele Leggott’s poem “shore space, ” from her 2009 book Mirabile Dictu, imagines 1930s New Zealand writer Robin Hyde taking a bus trip through Auckland’s North Shore, and running into various groups of local writers as she does so:
she would be pleased this spring afternoon above the bays where gorse and mangroves present a united front and choko vines run wild she would be pleased to see Jack Ross and friends rolling in with a box of books and a sausage sizzle to do a fundraiser for a poet who has run out of cornflakes on the other side of the world Robin Hyde is living on baked beans and disprins soon she will leave the places we can see and walk the seaward road that glistens with disappearances
It’s a pleasant pastoral vision of friends and collaborators falling over each other to help out, be supportive, advance the art of poetry in an atmosphere of mutual good will.
This is Week Four of the 2012 Summer Writing Program at the Jack Kerouac School of Disembodied Poetics at Naropa University. I’ve participated in the incredible summer writing program as both student and teacher and perpetually struck by what a unique pedagogical model Anne Waldman continues to create there. I’m always thinking about this particular model of rotating themes and instructors during the regular academic year when I am writing and working with my own students.
In “Outrider: The Pedagogy,” Anne Waldman defines her concept of the outrider as stemming from “a need to define the lineage, pedagogy and view of a burgeoning poetics program that was increasingly seeing itself outside the official verse literati culture academic mainstream” (Outrider 39). The Kerouac School (founded in 1974) is an accredited degree-granting institution, founded out of a desire to create a space for “non-competitive education…building a community of active readers and writers who carry the lineage in their genes” (Interview with Anne Waldman, 2007).