Category Archives: Culture & Arts

Elsa Dorfman

Ten Minutes Left to My 67th Birthday, April 26, 2004 by Elsa Dorfman. With permission of the artist.

I’ve been on a kick about truth-telling lately, and we usually think of truth-telling as involving situations where the truth is ugly and difficult, as in the witnessing of atrocity or political injustice. However, there are those whose truth-telling is of a more joyful and humorous kind, and portrait photographer Elsa Dorfman is one of these.

On her talent for getting people to relax in front of the camera, Dorfman says in an interview, “maybe because I do so many self-portraits i exude confidence cause i don’t ask anyone to do something i havent done to myself. that is stand in front of the camera and accept my extra weight. imperfect haircut. mismatched wardrobe which i happen to approve, as in gudren clothes” (The F Blog).

As Lisa Surati notes on photo.net, “Elsa’s portraits do not illuminate or glamorize her clients; rather, Elsa presents her clients in an extraordinary way, as themselves.”

I remember how striking this was to me when I was a young woman negotiating the meaning of my own imperfect body. I was working as an editorial assistant for the Woman’s Art Journal in the early 1980s when we published an article about women’s nude self-portraits, including one of Dorfman’s that I recently found on artnet. (Please do open this link so you’ll understand!) Of all the wonderful work that the magazine featured over the years that I was associated with it, Dorfman’s is the work that I remember best.

The reason is twofold: one is that these portraits were the most honest depiction of ordinary female physicality I had ever seen. Another was that they were presented with simplicity and an understated sense of good-humored self-acceptance that I longed to inhabit then and still do. There’s no self-pity there, and no shame for not being a beauty queen.

Re-encountering Dorfman’s photography in general, and her self-portraits (both nude and not) in particular, has me thinking anew about the value of written memoir as well. My creative nonfiction students often talk about the “bravery” of their classmates who write about certain tough topics in their lives. I often raise with them the issue of how “bravery” isn’t enough, how the shaping of the trauma into a story that reaches beyond the self is necessary for any work that aspires to art.

And yet, I think about the utmost appearance of simplicity in Dorfman’s self-portraits. In The F Blog interview, she notes, “i can’t tell you how hard i work to make it seem effortless.” Yet she embraces the imperfect and the straightforward in her subjects, including herself. This is artistry in the service of the genuine, art that asserts that little truths are perhaps as important as so-called big ones. Perhaps, indeed, memoir has an affinity with this kind of documentary photography that doesn’t use dissolving filters. The person who puts experience down on paper, whether in writing or in photographic image, works hard, but there is a respect for the experience itself.

This is a kind of truth-telling that understands compassion is based on frankness and honesty, not fantasy and pretense. I like it. I’m glad that both Elsa Dorfman and the Woman’s Art Journal are still going strong.

“A Good Day to Die”–Or Not


Little Big Man (1970) is a very funny tragedy. One of the most repeated lines in the history of movies is, of course, when Old Lodge Skins (played by Chief Dan George) proclaims that “It is a good day to die.” He does this first when he sets out to fight the white man, and he says it again in this scene when he realizes that the white man cannot be defeated.

I guess race and the questioning of assumptions about it is my theme this week. I’m sure there are plenty of racial inaccuracies in this movie. Chief Dan George was himself a member of a coastal tribe from Vancouver, not from a Plains tribe, for instance, and there are no doubt elements of the depictions of Native Americans here that are questionable. The dialogue at the end of this scene might not be a “flattering” depiction, albeit it is designed to be absurdly comic.

But the film was one of the very first Westerns to center the sympathy and character development on the Native American characters. These Native Americans are not “noble savages” much less “ignoble” ones. The narrator and main character, Jack Crabb (played by Dustin Hoffman), a white man adopted as a child by the Native Americans, is a full-fledged liar, so some of this is even made light of on the surface. The movie doesn’t presume to provide a Native American first-person point of view, and Crabb’s stories have other purposes than accuracy, but his heart is in the right place, as was that of his adopted grandfather, Old Lodge Skins.

Old Lodge Skins and his people refer to white people as “white people” and only to their tribesmen and –women—as “human beings.” When I first saw this movie, I was delighted and surprised by this reversal of the Manifest Destiny junk about whites being more human than other races of people. It was one of the first things that got me thinking about the importance of perspective.

In this scene, Old Lodge Skins finds that it is not yet his day to die after all.

Rock ‘n’ Roll N


Warning! Late-night language.

I think that the only time I’ve ever uttered the “n-word” out loud is in singing along with this song. I still can’t bring myself to type it or speak it in any other context, but the thing is that Patti Smith turns the meaning of the word on its head. She turns a terrible word into a liberating word, or as close to that as possible. She refers to a whole varied raft of people, inlcuding herself, “grandma,” Jackson Pollock, Jimi Hendrix, and Jesus Christ as “n”s. By doing so, she transforms the “n-word” into a commentary on the collective of all those “outside of society” and of the implied negative costs of conformity of whatever type. Fitting in is not a desirable trait here.

Whether this song works for you or is just too shocking and repulsive in its language, there’s an attempt to recognize a commonality and a solidarity. Certainly, I’ve never been the kind of hellion that Patti Smith once was, but I grew to love the way she examines what it means to be different from the norm. The album Easter came out in 1978, and for me it was the beginning of awareness that there are people who celebrate their differences.

It took me a long time to be able to listen to this song, and I was reminded of why when I read recently that the Memphis and Shelby County public school systems are in the process of merging, a process that is re-sparking some earlier racial tensions. It was perhaps in the context of busing for school desegregation (federally mandated in 1973) that I heard the n-word most often and most hideously. More than half the city’s white students’ parents sent them to private schools instead of cooperating, a process they justified in openly racist ways. My parents chose not to participate in white flight, and I was called an n-lover on numerous occasions.

So when, just a few years on, I first heard “Rock ‘N’ Roll N” I just couldn’t bear it. Its defiance, however, kept coming back to me. “Let’s redefine things,” it seemed to say. And I agreed that was a good idea. I had been put down as a woman, as a Southerner, and as an aspiring artist enough times already in my young life to feel a connection to the sensation of debasement, and I eventually embraced the song as a manifesto of sorts.

Patti Smith still has a habit of not accepting the usual definition of things. A.O Scott, in a recent interview, notes:

When I brought up the persistence of grief in her songs, Smith laughed — it was certaintly not the first time an interviewer had raised the subject — and gently corrected me. “I think it’s less about grief than remembrance,” she said. “Grief starts to become indulgent, and it doesn’t serve anyone, and it’s painful. But if you transform it into remembrance, then you’re magnifying the person you lost and also giving something of that person to other people, so they can experience something of that person. That’s why when I’m traveling with my camera, I’ll often take pictures of, you know, Keats’s bed, Shelley’s grave or Victor Hugo’s desk. It has something of them. If I’m taking a picture of Brancusi’s grave, I know that there’s something of him, of his mortal remains, beneath my feet, and there’s something beautiful about that.”

Smith is an artist who has gone through numerous transformations and phases, and I like that. She may not be as angry now as she was then, but she’s still questioning surface interpretations and emotions.

Surprise!

A French tarot card


I have a tendency to believe in chance over direct and linear divine intervention. Maybe they are different ways of talking about the same thing.

But just last night I was bemoaning to Bruce how we have ended up where we are socially and politically today, and how I can’t believe that we could arrive at this situation after the sixties, the seventies, and even the eighties and nineties. So much for progress (though I have to admit I was always suspicious of that idea). I wondered aloud if the 9/11 terrorists have, after all, succeeded in their goal in destroying any semblance of shared values in this country and of emboldening the devil of hate.

Bruce and I were talking about the letter sent by Governor Rick Scott to university officials all over the state of Florida requesting—no, demanding—certain “information” about various courses of study. On the surface, like so many things, it looks not unreasonable. But there are two things disturbing about it: first, most departments and other units at state universities have never had a budget or staff to collect this kind of extensive data, which Scott demanded in one month. More disturbing is the fact that Scott’s letter doesn’t just make it clear what he intends; rather, he has assumed that we will all fall in line with his intention, and the mission he intends to force is that of vocational training for our students. I have nothing against job-production, and higher education is key in that effort, but to define it as the main or only mission for universities is scary. And changing the game on faculty and administrators everywhere without even saying that’s what you are doing—just slipping it in—is downright imperialist.

Another one of my tendencies is to careen downhill like a snowball collecting snow. Last night, the horrors of being an educator in Florida these days picked up my more personal dissatisfactions with my work and employment situation. At one point I said to Bruce these exact words: “I never imagined my life would turn out like this.” (I know, big violin.)

In the wee hours of the morning, when my insomnia becomes the provider of quiet reading time, I was therefore extra delighted to find this passage in Pascal Bruckner’s Perpetual Euphoria, which I’m also delighted to still be reading. Unlike so many books about happiness that I read, and so many of the books published now in the U.S., it is actually taking me days and days to read instead of a few hours. It has substance and breadth. I thought I would wait to mention it again until I was finished, but this coincidence (or divine intervention—take your pick) was just too good to pass up.

And chance goes beyond the juxtaposition of last night’s conversation with this morning’s reading. I discovered this book by sheer chance, not by some plan of information-gathering related to the subject of this blog (though I have been doing that). No, I was working on another project, a proposed textbook, and was thinking about Paul Auster in relation to a discussion of memory and memoir. When I looked at my decades-old lesson plans about Auster, I found a quote from the introduction to The Invention of Solitude that I had copied out. It was by Pascal Bruckner, and I wondered who the heck he was since the name was unfamiliar and he’s definitely not one of the literary creative writing insiders in the U.S. So I looked him up, and as chance has it, his book on happiness was just translated and published in English earlier this year. That’s what we call serendipity.

Lost illusions: since the Romantic period, they have been frequently contrasted with the heroic dreams of youth. Life is supposed to follow an inevitable itinerary from hope to disenchantment, a perpetual entropy. However, it is possible to oppose to this commonplace of dashed hopes another model: that of the blessed surprise, illusions rediscovered. The world of dreams, contrary to what is usually said, is poor and mean, whereas reality, as soon as we begin to explore it, virtually suffocates us with its abundance and diversity. “I call spiritual intoxication,” said Ruysbroek, a Flemish mystic of the Renaissance, “the state in which pleasure transcends the possibilities desire had envisaged.” To the principle of anteriority, which judges life in relation to a program, we must oppose the principle of exteriority: the world infinitely surpasses my ideas and expectations, and we have to get beyond them to begin loving it. It is not the world that is disappointing, it is the chimeras that shackle our minds. Answered prayers are dreary: there is something very profound in the wisdom that warns us never to find what we are seeking. “Preserve me from what I want,” keep me from living in the Golden Age, the garden of wishes fulfilled.

There is nothing sadder than a future that resembles what we had imagined. We are disappointed when our wishes coincide with what we are experiencing, whereas it is especially moving to see our expectations diverted by particular incidents. (The literature of happiness is usually a disabused literature: hopes have either been betrayed or, more disturbingly, fulfilled, and desire satisfied, that is, killed.) Pleasure arises more from a project repeatedly thwarted and turned in a different direction than from a realized desire. While boredom is always associated with equilibrium, joyous overflow occurs when the imagination has to yield to the greater marvels of the real: “I had to choose between the hammer and the bell; what I remember now is mainly the sound they made” (Victor Segalen). Every inspiring life is both an achievement and a defeat, that is, a marvelous disappointment when what happens is not what one desired, and one becomes sensitive to everything that makes life opulent, fervent, and captious. The defeat of an illusion always opens the door to miracles.

The 59th Street Bridge Song (Feelin’ Groovy)


Simon & Garfunkel could write and perform the most melancholy songs on the planet, but they also happen to be responsible for what is perhaps the most genuinely happy pop/rock song around.

What makes this particular cheerful song so real to me is the way it describes one specific moment of joy. It’s a joy in life’s small pleasures, and a kind of joy that’s not flashy, that someone else might not even notice. It is not the type of “happiness” that’s designed to make someone else feel bad for not “having” it. It’s the kind of genuine happiness that Pascal Bruckner describes—it arises spontaneously out of a simple moment.

Paul Simon is a superb songwriter for the very reason that he never shies from specificity. He has written beautifully in many moods, all of which are fully inhabited in his songs.

I’m sharing “Feelin’ Groovy” today for a couple of reasons: 1) it’s raining steadily and so the song will warm me up a bit, and 2) we just bought tickets to see Paul Simon in concert in December. I have a long, long history with Simon & Garfunkel but have never seen either of them perform, so this makes this morning extra groovy for me. But if you are more in the mood to let the rain (or snow) settle into your soul today, here’s an alternative, “Kathy’s Song.” Both are true.

Perpetual Euphoria

"Quite the happy dog" from Grashoofd on Dutch Wikipedia


“You can’t summon happiness like you summon a dog. We cannot master happiness, it cannot be the fruit of our decisions. We have to be more humble. Not because we should praise frailty or humility but because people are very unhappy when they try hard and fail. We have a lot of power in our lives but not the power to be happy. Happiness is more like a moment of grace.”

Today I bring you this quote from Pascal Bruckner, whose Perpetual Euphoria: On the Duty to Be Happy has recently been translated from the French. I started reading it this week, and so far it’s offering a history of attitudes about happiness. He is definitely a like mind, and I love how straightforwardly he points out the irony in the misery caused by the obligation we feel these days to be “happy.” Truly, when that is the case it can’t be happiness people feel at all.

Here is the review in The Guardian and Observer from which the quote is taken. A fuller gloss on his argument can be found in his short article, “Condemned to Joy,” in City Journal.

A happy dog picture never hurts, but maybe happiness itself is more like a cat!

Americans Who Tell the Truth

Shetterly's portrait of Janice Murikitani, community activist and poet

“Americans Who Tell the Truth” is a portrait project by the painter Robert Shetterly. He’s moved from more famous truth-tellers to more recent and less well known ones, but all the portraits share a moving intensity and clarity. The website is fascinating to peruse, with reproductions of the portraits, quotes from each subject, and biographies that summarize their background and reasons for their inclusion in the exhibit.

Shetterly notes, “A democracy, whose leaders and media do not try to tell the people the truth, is a democracy in name only. If the consent of voters is gained through fear and lies, America is neither good nor great. Nor is it America.” His website adds, “Whether or not you agree with a particular subject’s point of view, each is an attempt to create dialogue that will help us figure out which truths we value most as citizens in a democracy.”

Evolution of a Blog

Human evolution by Jose-Manuel Benitos


Like politicking or not politicking, like speaking out or not speaking out, the question of whether or not to blog has been with me ever since I started doing so six months ago. It’s been an interesting experiment for me, and, for those who contemplate or are already embroiled in the practice, here are a few thoughts on its evolution.

One of the most salient issues for me has been the lack of respect for the genre of blogging. Often, of course, some derision is well deserved: the blogosphere is open to people of all stripes and all levels of quality in their writing. For this reason, in my profession blogging counts for nothing in terms of “research productivity,” and so I often wonder if it’s worth the time and energy it takes for me to do it. In academia, often the attitude is that one should be spending any writing time on more professional pursuits.

My department chair, in a moment of encouragement for my efforts, noted that it would amount to something if I ended up teaching a course about blogging, which he’s suggested to me several times that we should do as a department. After all, it’s an up and coming arena in the fields we are supposedly experts in. Still, as far as I know I’m the first one in my department to keep a regular blog for any period of time, probably because it is not “publication material.” Yet I have to view it with humor and irony that I could teach a course in something that as of yet is given no credence in terms of my own writing and research.

There are reasons for this, of course, and the main one is that no one but me judges what I write before it is “published.” I am responsible for all the choices and for the mistakes I make. There is no one of greater power and respect placing a mantle of approval on my work, and without that it’s hard to know what something is worth.

In fact, this is one of the challenges of keeping a blog, period. Because a blog has a relentless production schedule and because there’s not a staff of fact-checkers or copy editors, there’s a constant issue of accuracy and of writing quality. There’s no time to “workshop” it, formally or informally. There’s no time to even get your husband or friend to glance over it. When I taught a graduate creative writing workshop course last summer, I added the assignment of creating or updating an existing blog to my students’ usual assignments, and my students commented that the relationship between posting what were essentially rough drafts and at the same time being on public display was the scariest thing about it. I, too, have become familiar with the uneasiness of this, even in as small an issue as the typos that somehow find their way into the original posting and that I then scurry to fix. It often has a bare-butt feel.

Another striking aspect, which I find a mixed bag, is the sense of community inherent in blogging. On one hand, I have found learning about the blogosphere and trying to be a member of the outside community a real time-sink and struggle. I find it overwhelming. Occasionally I come across a blog that I admire and try to keep track of, but there are a lot of them, too many for me–at least so far–to comprehend fully. I need to do better at this, as I consider that side of the exchange just as vital as putting my ideas out there for others to see.

On the other hand, I do feel already more a part of a wider community of those sharing ideas than I have felt in several post-graduate school years. Some of this is small—my friends who read the blog, my brother’s long-term blog that I now actually read sometimes, those from whom I ask permission to borrow a photograph, a few strangers who respond to my blog (even some in disagreement). Some of this is in the numerous great conversations I have had with friends in person, via phone, and over email. I even have one friend who, leery of too-public a world, has started a great monthly email newsletter for her friends. Those things are valuable, and sometimes it does go beyond the merely personal connection. One entry that I cross-posted to Daily Kos reached 200 comments and was picked up by the AAUP’s blog editor. I have reached the point where the blog gets about 2,000 hits a month.

The fact is that I have had more feedback and more intellectual and narrative exchange because of this blog than I ever have had from publishing short work in “legitimate” publications. I virtually never hear from anyone when I publish in a literary magazine, other than its editor (god love ‘em). Even when I published in Harper’s, I heard from maybe two readers. The book I published was another story, and even now, ten years later, I still occasionally get an email or letter about that.

Don’t get me wrong. It’s great to see your work in print, and book or magazine publication is still the ultimate end. That more polished work has distinct purposes that are also, of course, desirable and important. But there is something refreshing about the blog. There is not the “I’ll scratch your back if you scratch mine” kind of professional career building of literary venues, or the highly uneven relationship with a “fan base.” Even though I desire readers, it feels more … well, based on genuine interest and a cohort of peers.

The best aspect of it for me, though, is the great discipline it has been for me as a writer. There is no putting it off and there is no perfectionism that prevents me from calling something ready. What that means is that as of this date, I have produced close to 200 pages or 50,000 words for the blog (including notes for forthcoming posts). If you’ve read it, you know that it’s been a process of sorting out ideas. Some of it has been better written and more interesting than other parts. It has been an evolving creature, and the skin it sloughs is invariably part of the deal.

I started the blog with the idea that these days, sorrow and crying are the emotional states we most often deny to ourselves. I started with “crying,” but have moved on through other kinds of grief and anger, as well as the occasional celebratory impulse. Various themes have emerged or been clarified for me. I’ve always had an interest in the genuine more generally, and the blog has transitioned through various emotions and prepares to examine more different ones and the notion of the genuine itself.

I never meant for the blog to be particularly political, though I knew that some people would be dismayed at a negative take on positive psychology. What I’ve found is a larger and larger connection to some political aspects of dominant positivity. I still think there is room for many different interpretations of the world aside from delusion, but I have discovered that for me the political implications of blaming people for their own unhappiness are huge.

For a while I thought I would run out of things to blog about. I haven’t yet. As my friend G said, “Oh, the world will provide you with plenty on a daily basis.” And so it does. It is like being on a journey, and I am looking forward to where it takes me next. I don’t travel a lot on a physical basis, so maybe I need this kind of adventure.

Thanks for coming along sometimes!

All Along the Watchtower

I’ve been keeping this blog for about six months now—at least two posts a week for six weeks. On Thursday I hope to reflect more generally on this journey, but today I want to mention the heat that’s involved in any kind of public discourse, no matter how modest.

Why is it worth trying to tell the truth as I see it? It certainly doesn’t make me universally popular. Fortunately, I get more in the way of agreement and support privately from those who say they don’t want to venture more publically (though they often do just that in a necessary context). I’ve been having all kinds of discussions off the blog with people about my willingness to deal with the more public criticism and about my willingness to speak my mind.

And let me note that I’m not perfect, and my blog is a personal rather than a journalistic one. I don’t say unfounded things with no reason, but what I write about is always open to interpretation. I don’t claim to be an economic expert or a psychology expert or a music expert or an expert on the formation of new departments at my university. I have a moderate level of knowledge about any subject I approach, though I remain open and correctable. It’s my hope that there is some shred left of a desire for discussion where people say, “Here are my reasons,” in response to my saying, “Here are my reasons.” That’s what I believe we are called upon to do as supposedly thinking people, especially those pursuing an academic life. Instead, I often find myself in a position where I have outraged someone by speaking (or writing) at all.

I have been fulfilling this position for much of my life. I don’t know how or why it became so important for me to speak my mind and to report what it is I see before me. I do know that it was a role I played in my own family of origin, and I remember reading a book about family dynamics years ago in which I recognized that I was the one who always said the things no one else would say even though they were all thinking the same thing. I was the one who expressed much of the dismay or frustration that everyone else felt.

Even this weekend, I had an exchange with my mother (sorry, Mom!) about an email she’d sent about trying to plan for the holidays. There are certain extended family members who resist communication and who make it all very complicated for my mother and her husband. In their branch of the family, the holidays have long been a power struggle. I told my mother that this year Bruce and I are going to plan for ourselves and extend a few invitations, but that I am not going to undergo eight weeks of hostile negotiations. Period. Eventually, my mother said that she was so sorry she had sent the email and upset me. It took me a few minutes to realize that she was the one who was most upset by this situation, not me. I was expressing her distress. I was naming the problem with the extended family, even though my mother knew full-well what it was.

I don’t know why I am this way. Maybe it has to do with the sub-conscious training in my family to fulfill a certain need others had. Maybe I was just struck in elementary school by The Emperor’s New Clothes, a brilliant children’s book if ever there was one. Maybe it has to do with developing an early chronic illness that the doctors always accused me of lying about (“I know you ate candy.” “I know you didn’t have a low blood sugar.” “I know you skipped your injection.”). Maybe it had to do with my unusual proximity to death and a desire not to waste my time with bullsh*t.

My friend H reminded me this weekend that Virginia Woolf always considered herself an outsider and that she evoked devotion in some and hatred in others. I’m not a “great thinker,” but I do hold up for myself a few fellow truth-tellers that I admire and who have always inspired me: Martin Luther King Jr., Malcolm X, Adrienne Rich, Claribel Alegría, Tillie Olsen, Susan Brownmiller. These are people who understand the dangers of silence, and I am in good company if I poke some people in the eye.

Today, I present to you Bob Dylan’s song as sung by Jimi Hendrix, and this lovely interpretation of its meaning, the importance of truth to artists, and the importance of outsiders to society. “Let us not talk falsely now, / The hour is getting late.”

Diving into the Wreck


I’ve done it again, by accident this time. I’ve dived into the wreck of our time. It’s cast me back to my first discovery of the disaster of embedded sexism (and by association racism), and of Adrienne Rich’s wonderful poem “Diving into the Wreck.” That poem and the collection of poems named after it, which I discovered so many years ago, is still more than relevant and is much needed today, when we are still so often submerged in “myths/in which/our names do not appear.” It always amazes me that these angry white men can go on and on about “entitlements” when what they’re so angry about is the loss of their “birthright” of male, white dominance. Thank goodness some men have grown up and gotten on with it. And thank goodness that women like Adrienne Rich showed that “We are, I am, you are/by cowardice or courage/the one who find our way/back to this scene.” We are the one.