Dimitri Keriotis’s short story collection The Quiet Time is forthcoming from Stephen F. Austin State University Press. His stories have appeared or are forthcoming in the Beloit Fiction Journal, Flyway, BorderSenses, Evening Street Review, and other literary journals. He teaches English at Modesto Junior College and co-coordinates the High Sierra Institute. He and his family live in the foothills of the Sierra Nevada.

We’ve all heard the news about the economy creeping back to life. This notion recently became real when a colleague and I wanted to bring writer Suzanne Roberts to Modesto Junior College to read from her memoir Almost Somewhere. I hit up my dean for some money for a P&W matching grant, and without pausing, he said, “I can find something for you.” As I walked out of his office, I wondered if I’d heard him correctly. The last time I asked for money I’d been laughed out the door.

Ours is a familiar story: Over the past few years of the Great Recession, the funding for nearly all things literary went bone dry. Our college’s literary journal—Quercus Review—though ten years strong with submissions from such heavy hitters as XJ Kennedy, Naomi Shihab Nye, Amiri Baraka, and Wanda Coleman was killed from the college budget in Robespierre guillotine fashion. And support for author events didn’t fare much better. Whereas we’d previously brought a poet to campus in the fall and a prose writer in the spring, and were able to pay them four figures, we found ourselves clawing at a few lost quarters found in the faculty lounge furniture. Hard times had hit. When I talked with friends at other campuses, they told me more of the same. I thought our college’s lit-event life was long dead.

But all hope was far from lost. Writer Daniel Chacón, who’d once taught at MJC, contacted me about coming to read and visit classrooms. When I told him that I wasn’t sure if I could scrape together a three-digit compensation, he said, “I understand. Whatever you can do will be fine.” Chacón’s response led the way, encouraging us over the next few years to invite other authors. We knew better than to try to offer two readings a year, so we scaled it down to one. Over the next three years we were able to average a reading a year because the writers essentially repeated Chacón’s message. It seemed as if an overall understanding spread across the literary community: We’ll do what it takes to breathe life into the events that keep our community alive. But still, we had to pay the artists something. Even when they said that they would come for free, and a couple did, it would have been criminal to take them up on it. One year we tapped a forgotten fund designated for literary events established back in the day, which allowed us to pull together enough funding to apply for a P&W matching grant. Another year we knocked on any door whose office had the faintest smell of money. The only one that came through was that of the Associated Students, the student government. After that we walked into a desert. Those who’d supported us in the past not only didn’t throw us a bone, they all but slammed their doors in our faces. We felt strongly about continuing our practice of visiting authors, and we became scared of what would happen if we stopped. While we could handle not offering our community a reading one year, we worried that the Pooh-Bahs in charge of the money would get used to writers not coming to campus, which would make it tough to bring them back when better times returned. Keeping our momentum up, though our number of readings had dropped by a half, was vital. We’d been lucky enough to receive P&W matching grants in the past, but what if you had nothing for P&W to match? Feeling gutsy, I called P&W’s LA office and asked this question. I nearly fell out of my chair when they encouraged us to apply anyway. We did, and P&W allowed our wheels to keep turning.

No doubt we have yet to fully return to fat times, but it seems like we’ve made it through the financial bottleneck. This past fall poet and memoirist Suzanne Roberts did come to campus, and this spring we’re bringing poet Patricia Smith. We’re able to offer greater compensations than we have in years. It’s a nice feeling, returning to flusher times that result in writers being rewarded more than has been possible of late. No doubt such rough times will return someday, but the lean times have taught us that we never have to completely do without literary inspiration.

Photo: Dimitri Keriotis. Credit: Ingrid Keriotis.
Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Krista Wissing is a licensed therapist who has facilitated expressive arts therapy experiences for people impacted by brain injury, Alzheimer’s disease, medical illness, addiction, co-occurring disorders, and trauma. She founded The Rediscovery Project in 2012 and is currently the Day Program Coordinator for Brain Injury Network of the Bay Area. Expressive writing has been critical to Krista’s own healing process, and her work has appeared in The Molotov Cocktail, Bitchbuzz.com, and Know Journal (upcoming). She recently taught a workshop for people with brain injuries at the Institute for Poetic Medicine in Larkspur, California. We asked her to blog about the experience.

In my years of working with people who’ve experienced an acquired brain injury (ABI), I often hear how destabilizing and isolating the cognitive, emotional, social, and physical aftermath of ABI can be.

The thing about ABI is that nine times out of ten there is no warning. Be it a head trauma, stroke or a virus attacking the brain, ABI barrels in like an unexpected wind and divides one’s life narrative into two—life before and life after brain injury.

It’s the kind of phenomena that rocks one’s foundation to the core.

It’s the kind of phenomena that leaves the bearer asking tough questions. Why did this happen to me? What kind of life lies ahead? Where and with whom do I belong? And what of my dreams? My purpose? My identity? My faith?

My Right Arm
Blake Herod

My right arm was my buddy. Grade school
rock and ball throwing. Nose
and scab picking. Young breast holding
nipple rolling. Holder of all the
body making, body destroying
drugs, liquor, food, for a good time
call, wait a minute, hold this.
Can you climb all the way to the
top, gesture drawing, paintbrush holding
steering wheel with three on the
tree, 5-speed, with granny gear,
floor shifting, board paddling wave
riding. Pool lap swimming. Nail pounding,
board lifting, torch holding, bike riding,
throttle whacking, old buddy.
My future by building the foundation.

Now it’s not.

It’s the kind of life-altering experience that holds the transformative potential of the Hero’s Journey and merits the healing elixirs of poetry, art, and community.

This is the heart and soul of the Rediscovery Project, a ten-week group that supports ABI survivors in uncovering their own Hero’s Journey through poetry and expressive art. The project culminates by bridging project participants with the community at large through a public poetry reading and print anthology.

The project was conceived of in 2011 during a discussion I had with poetry therapist John Fox, CPT. Years earlier, during grad school, I attended John’s poetry therapy class and felt an affinity for his work with poetry as healer. By 2012, John’s organization, Institute of Poetic Medicine, was on board to graciously fund the program. Rediscovery Project was launched later that year at Brain Injury Network of the Bay Area and continued in 2013, thanks to funding from Institute of Poetic Medicine, P&W’s Readings/Workshops program, and Bread for the Journey-Marin Chapter.

When people who suffer come together to heal, magic happens. To bear witness to this is sacred. If we listen closely and with care, what might we hear? If we lean in, what might we feel? Might we hear the Hero’s call to adventure—its cadence, pulse, and urgency? Might we feel its gravitational pull, even at its most tentative, to life experiences that shake, shift, and shape us?

And when we finally wake up to our own Hero’s Journey, how do we explore the truth of what brings us here today?

Mosaic
Philippa Courtney

The white wolf wails inside my soul,
cries in the darkness—Make me whole.

Summon the shaman.
Fan the flame.
Scatter the ashes—chant my name.

Gather the pieces, shard and sliver
silent brain cells in a quiver

Fly like an arrow through the night.
Sparks ignited;
second sight.

Broken open,
given form.
Lose it all; be reborn.

Photos: Top: Krista Wissing. Credit: Kari Ovik. Lower: the anthology of work by participants in Wissing's classes.

Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Writer, vocalist, and sound artist LaTasha N. Nevada Diggs is the author of TwERK (Belladonna, 2013), as well as the album Television. She has received scholarships, residencies, and fellowships from Cave Canem, Harvestworks Digital Media Arts Center, VCCA, the Laundromat Project, the Jerome Foundation, New York Foundation for the Arts, the Eben Demarest Trust, and Millay Colony. As an independent curator and artistic director, she has directed literary/music events at Lincoln Center Out of Doors, Symphony Space, Bam Café, the Schomburg Research Center for Black Culture, Dixon Place, El Museo del Barrio, The David Rubenstein Atrium. A native of Harlem, New York, LaTasha, along with writer Greg Tate, is the founder and editor of yoYO/SO4 Magazine, which has been funded by the Poets & Writers Readings & Workshops Program.

Somewhere in the Bronx there is a community garden called Hispanos Unidos. There, a cherry tree produces thirty pounds of cherries annually. Cucumber, cabbage, beans, figs, jalapeño peppers, peaches, and eggplants are grown and harvested. Tinkerbelle the cat guards the flock of chickens that live underneath the makeshift house. Inside the house on a wall is the worksheet for those who maintain the garden. The membership is ten dollars per month for men, five for women. The house serves as site of inquiry and celebration and as a location where Latinos maintain their cultural ties and language. It is a place where one can disregard the actual city residing outside the gates of the garden, where one can find respite in an array of fruits and vegetables. Where a rooster crows above the overhead subway train. It is gardens like this one that became the inspiration for Lincoln Center’s La Casita poetry and music festival.

In 2013, along with representatives from the Caribbean Cultural Center, the Smithsonian National Museum of the American Indian, Asian Arts Alliance, and Lincoln Center Out of Doors, I had the pleasure of being part of the curatorial team for La Casita. This was different from my previous curatorial endeavors. This was not about my personal artistic tastes or what I was attempting to accomplish on my own. This was about the collective voice and the spirit in which La Casita was founded in 2001 by LCOOD’s former program director, Jenneth Webster, and Ana Araiz, an independent producer. Connected to the traditional casitas located in the Bronx, Harlem, and the Lower East Side, its purpose has to do with the richness of poetry and music. Like the casitas, the festival is meant to serve as an oasis situated in the urban and at times cold architecture of the city. As it serves as a platform to “create and recreate traditions,” it also equips artists with a platform for political demonstration. In 2004, La Casita was one of only a handful of venues where participants protesting against the war and the Republican National Convention in NYC could do so without restriction.

The curatorial process was similar to a family conversing at a kitchen table. We talked. We debated. We laughed. We shared ideas. We shared food. It was foreign, and at the same, a familiar I had not yet experienced. We came together to build a bridge that connected us all to the Caribbean, Latin America, Africa, Asia, and the United States. Collectively, we put together a two-day lineup of musicians and poets to perform at Lincoln Center and Teatro Pregones in the Bronx. We carried out La Casita’s goal to create a place where “poets, troubadours, bands, comedians, singers, percussionists, and storytellers could gather together to pass on las palabras; the oral traditions of the spoken word and song.” And while it has proven home for those largely rooted in the oral tradition, it has equally shared space with Pulitzer and PEN winners. Elizabeth Alexander, January Rogers, Amiri Baraka, Aracelis Girmay, Carl Hancock Rux, Joy Harjo, Ishle Yi Park, Colin Channer, Mayda del Valle, Mark Turcotte, Tara Betts, John Trudell, and Angelo Moore of Fishbone are among those who have been featured, and since 2001 over two hundred musicians and poets have performed at this casita.

By the time La Casita came to Teatro Pregones in the Bronx, I understood myself not only as a curator but also as a supporter of each and every artist featured. I felt myself representing the spirit of community gardens: places where everyone is welcomed regardless of artistic, aesthetic, and cultural background. The casita itself, which visual artist Manuel Vega was commissioned to create for this festival, is maintained every year, much like the casitas that inspired Webster and Araiz in 2001. Sunflowers, birds, Afro percussion, floating snails, lizards, Yoruba and indigenous symbolism, and cityscapes cover the tarpaulin walls while curtains of gold and silver tinsel accentuate the door and windows. Some years ago a red rooster—who in Yoruba faith is said to have assisted Oduduwa in the creation of the earth—stands at the top of the casita facing north on a weathervane, alive and stout. This year it is Shangó.

Click here for video of poet Irma Pineda reading at La Casita.

La Casita poetry and music festival does not garner much attention from the larger poetry community but deserves it. It is one of those rare places in New York where traditional and contemporary cultures are expressed and celebrated on this little stage. You are introduced to multiple languages and dialects. You are encouraged to dance. Celebration is an exchange. You learn how to celebrate. It feels much in line with Hispanos Unidos in the Bronx—where the harvest of ripe cherries and everything that grows there is shared with the community outside its gates. Where, over good food, everyone is an equal and no one is overlooked.

Click here for video of the Bodoma Garifuna Culture Band performing at La Casita.

Top Photo: LaTasha N. Nevada Diggs. Photo: Cheikh Hamala Diabate at La Casita at Lincoln Center Out of Doors. Photo: Poets, Jesus 'Papoleto' Melendez, January Rogers, Irma Pineda and Hip Hop artist Bocafloja at Day 2 of La Casita at Treato Pregones. Last Photo: Some of La Casita's curatorial team (Melody Capote, Charles Daniel Dawson, Claudia Norman, Rich Villar, Bill Bragin and Lillian Cho) with poets John Blake and Nolan Black Eagle Eskeets.

Support for Readings/Workshops events in New York City is provided, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and by the New York City Department of Cultural Affairs in partnership with the City Council. Additional support is provided by the Louis & Anne Abrons Foundation, the A.K. Starr Charitable Trust, the Cowles Charitable Trust, and the Friends of Poets & Writers.

In an effort to celebrate great books of long ago that were overlooked by major American literary prizes such as the National Book Awards and the Pulitzer Prizes, online literary magazine Bookslut has launched its own new award.

The Daphnes will posthumously honor books published decades ago, starting with the year 1963, in order to “right the wrongs of the 1964 National Book Awards," editor Jessa Crispin writes on the Bookslut blog. “If you look back at the books that won the Pulitzer or the National Book Award, it is always the wrong book. It takes decades for the reader to catch up to a genius book, it takes years away from hype, publicity teams, and favoritism to see that some books just aren’t that good.”

The Bookslut team has begun compiling nominations of some of the best books published in 1963—very few of which even made the NBA shortlist—which in fiction included The Bell Jar by Sylvia Plath, V by Thomas Pynchon, and Cat's Cradle by Kurt Vonnegut, among others (John Updike's The Centaur took the fiction prize that year). Notable nonfiction works of the year included Fire Next Time by James Baldwin and Eichmann in Jerusalem by Hannah Arendt (the award went to a biography of John Keats); and while a John Crowe Ransome anthology took the prize in poetry, other 1963 collections included 73 Poems by E. E. Cummings, Reality Sandwiches by Allen Ginsburg, Snapshots of a Daughter-in-Law by Adrienne Rich, and All My Pretty Ones by Anne Sexton.

The editors are currently seeking more nominees for the best books of 1963, in the categories of fiction, nonfiction, poetry, and children’s books. Nominations can be sent via e-mail to Jessa Crispin.

A panel of judges in each category, comprised of writers chosen by the editors, will read each nominated book and vote on the winner.

Stay tuned to the Bookslut blog for more updates about the award, and in the meantime check out an interview with Crispin by Dustin Kurtz of independent publisher Melville House.