I Speak of the City: Jai Chakrabarti


Photo courtesy of Peter Dressel

[I’ll be looking out for more blog posts from poet, novelist and good friend Jai Chakrabarti as he details his experiences in Jerusalem at his new blog: www.jaichakrabarti.blogspot.com.

Even in this excerpt from his first blog post, you can see how the City lives in the details. How the Wall not only wails but spreads out and finds new places to spring up throughout the City. How these walls can dissolve to doors if we can find the right key. How a storyteller can provide that key and keep the door open long enough to forget there were ever walls to begin with.]

excerpt from What a Gatekeeper Wants

Since it’s Shabbat, there’s few cars. Even then, Shaadi takes the long quiet road. He carries the heaviness of peace-workers who’ve suffered setbacks, who refuse to quit.

Along the way to Jerusalem / Yerushalayim / Al Quds he points out settlements and Arab villages. Many of the settlements are newly built. Walls spring up on both sides of the road. From one vantage point, the walls are without character, the same peach-white as the stones of the mountains around us. As we rise into the steppes: an occasional glimpse of a soldier at a checkpoint, a powerline, two children in kipas jumping on an old well.

In a few places, Shaadi mentions, the Wall is enlivened. In Ramallah graffiti speaks between stones. At one crossroads, a sliver of Tibetan prayer flags lull. Call.

Even Jerusalem, as we drive through the Old City, recognizes us first through its ramparts, towering fortress walls throughout history destroyed, re-imagined again.

As we come upon Damascus Gate, where a boy is waving a tee shirt for sale—Visit Palestine, Free Palestine it says—I can appreciate what the Gatekeeper whispers in my ear. He wants what I want. He knows I’d rather have my brew hot, but not scalding.

Sutra Dos:
The City will ask you to forget the graves under your house.

In exchange, the Gatekeeper will offer beauty, and why should you not take it, and why should you refuse such human gold as what the City’s memory wills to forget?

© Jai Chakrabarti from A Junkyard in Babylon

X-Post: Poets Capture the Immigrant Story, New Jersey Style


Rich Villar in Paterson, NJ
Photo courtesy of Peter Dressel

Rich Villar is among the Garden State poets who shared their poetic take on immigration at the My New Life, My New Poem Festival.

Line by Line, Poets Capture the Immigrant Story, New Jersey Style

A cynic once said writing poetry is like ice fishing — you have to really want to do it to do it. But here we were Friday night in Woodbridge on the first day of the My New Life, My New Poem Festival of Contemporary Immigration Writing, reminded of how many people from such diverse backgrounds seem to want to do it.

Most, but not all, of the readers had New Jersey ties. Some were children of immigrants. Still, as a snapshot of our assorted diasporas, here it was : Emanuel di Pasquale from Ragusa, Sicily; Sheema Kalbasi from Tehran; Paul Sohar, a Hungarian native who for years combined being a chemist at Merck with writing poetry; Rich Villar of Paterson, part Puerto Rican and part Cuban; Heather Raffo with excerpts from her one-woman play about Iraqi women, “Nine Parts of Desire.”

Complete article is at the New York Times.

Around the Way: Latino Lit

• Guest Editors Daniel Alarcón and Diego Trelles Paz bring together ten emerging authors for Francis Ford Coppola’s Zoetrope: All-Story’s Latin America Issue. Cover and illustrations by Guillermo del Toro.

• Congrats to John Olivares Espinoza, Gary Soto and all the writers nominated for this year’s Northern California Book Awards.

• Take a listen to Annecy Báez read from her Mármol Prize winning collection for the Lehman College podcast.

• ♪Súbete a mi moto♫ Ex-Menudo Xavier visits the Barnes & Noble in the Bronx to promote his new finance book.

I Speak of the City: Ezra Pound

[I’m coming to this poem not as a fan of Ezra Pound or necessarily of Modernism but as a someone who hates the subway.

As a true Citizen, I know the City won’t function without mass transit; you might as well place a tourniquet on the City’s main artery and walk away. But with most things we can’t live without, it’s hard as hell to live with it. The overcrowding, delays, loud conversations, bad music, foul body odor, and that’s just the waiting platform. Once inside the car, you can amp up all the previous annoyance factors and add in claustrophobia and motion sickness to the list.

No wonder Pound remains to stay in the station, focusing her energies not on the train but the people around him. Not static faces, since that would indicate staring–a strict no-no in any City, but the “apparitions” around him. He’s trapped with bodies he will see again and never know, a Modernist’s dream. And where does he take all this, as far as he can away from there back to nature. Depending on the station you frequent, it could be miles up past bedrock or just within reach on an el by a park but distance doesn’t matter in poems. Or in the City if you have a fast enough train, you just have to put all the ugliness and people to the side.]

In a Station of the Metro

The apparition of these faces in the crowd;
Petals on a wet, black bough.

© Ezra Pound

X-Post: Rigoberto González reviews Kevin A. González’s "Cultural Studies"

I love the cover image on Kevin A. González’s first book. Add that to the great work I’ve heard on Fishouse, Kevin’s Momotombo press chapbook, and this review from Rigoberto, and ya know I’m looking to read this book real soon.

Rigoberto González: Immigrant’s hope, disillusionment both have a place in ‘Cultural Studies

“Let’s all believe in the place/these hard plastic seats are taking us,” says the speaker of the opening poem “Flat American Waltz.” He sits on a bus, disillusioned by the American dream, but hopeful that the next stop will offer a different story.

This rare combination of expectation and melancholy is what sets Kevin A. González’s debut, “Cultural Studies” (Carnegie Mellon University Press, $15.95 paperback), apart. González writes about the experience of working hard, only to watch the fruits of that labor collapse or be received with indifference.

Complete review is at the El Paso Times.