Being lost for the fun of it. A blog post as meandering as it sounds.

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Streets keep turning up where they shouldn’t—unless my map’s the wrong way ’round. It’s useless anyway: the streets here are unlabled. Daylight’s quickly drifting off in no discernible direction.

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My viewfinder has led me here, although I don’t know what I’m looking for, exactly. Traces of something…but how would I recognize it? Here, old and new run together, and, as anywhere new meets old, it tends to gobble it up. Few of these buildings seem to want to share the stories they so clearly have to tell. They collude with unsigned streets to maintain anonymity.

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“LITTLE PETER STREET!” one non-compliant edifice shouts, placing me back on the map. Now I must feign being lost. I turn my lens toward the railroad tracks, whose massive Victorian arches I follow. Red bricks, blackened with damp, and green with lichen and moss, recount lifetimes of industry, dereliction, reuse—whatever my eye will read into them. Surely there was a history here. Mundane as a train schedule, unrelenting as rain, ubiquitous as cotton thread, or: unrelenting as trains, ubiquitous as rain, mundane as cotton. No matter. Ponderous and decayed but lasting as the capitalist’s monument to himself.

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I’m no archaeologist, nor historian, nor even a photographer. I’m merely recording memories, impressions. Memories may congeal around photographs, but in the end, they are more painterly. My feet ache, my body stiffens, the light is all but gone, and I can’t stop taking pictures.

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A month ago, I was in Manchester, UK, where I presented a paper (“A Wounded Presence: The Virgin of Vladimir Icon”) at a conference (“Images, Icons, and Idols”) at the University of Manchester. I had a couple days free to wander around City Centre, which resulted in what you’ve just read above. These are also some of the photos I took. They’re dreadful photos, and heavily reworked in Photoshop. But they’re all I’ve got. I’ve made a promise to myself that I’ll spend some time learning how to use a camera once the weather turns nice again here in Detroit (and the daylight sticks around longer). You know, June. May, if we’re lucky.

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Here’s another photo from my Manchester trip, of “the Wheel” in Piccadilly Gardens, which is less of a garden and more of a public square with civic statues, this big Rerris wheel (which is for seeing the vista, like the London Eye), and the convergence of Manchester’s utterly chaotic bus lines. Seriously, the buses will make you want to walk even if you don’t happen to love walking to begin with.


So, this is a blog about “Poetry, God, and Detroit, in no particular order.” The above italicized musings don’t quite amount to a poem, I admit. My trip was God-related, since I was there for a theological conference. But I’ve also always wanted to go to Manchester, in part because some of my favorite music has come out of that city, but even more so because it’s often (been) compared to Detroit. Both cities are northern (in their respective countries), and both have an industrial past, complete with all the building projects wealthy industrialists like to engage in (as they’re a socially acceptable sort of pissing contest), and the ensuing economic depression from their respective industries’ inevitable declines. Both have offered their industrial ruins to photographers’ lenses. Both have working-class populations who take an inordinate pride in their cities—here’s mine; as I always say, I have a “chosen delusion” ( <–right there, I admit it’s a delusion) that when I mention I’m from Detroit, people will be jealous. And, of course, both cities have given the world plenty to dance to.

I take issue with this.

Poster on the exterior of the former Factory Records headquarters, now a nightclub called Fac51.

The sign pictured above says: “FACT: Statistically there are more rock stars per capita of population from Manchester than any other city in the world. …” Leaving aside the redundant wording, I think the facticity of this claim depends on how you define “rock star,” “city,” and “from.” There’s no need, really, to point out that in Detroit, we invented punk, and techno, which, incidentally, featured on the dance floor even in “Madchester.” Oh, and there was that record label a factory worker started out of his house on Grand Boulevard. But it’s not my intention to start a pond war or anything. There’s been some nice cross-pollination between the two scenes.

Manchester’s seen a revitalization, though, in the past couple of decades. John Gallagher includes it among the cities he compares to the D in his book, Revolution Detroit. I made a point of getting a copy of the book before my trip in order to read the section on Manchester while on the plane over. Beginning in the late ’90s, I remember hearing and reading the opinion that the music scene essentially brought about the city’s transformation, but I never could believe that would be the whole story. In Gallagher’s book, he reports a more sensible assessment: that it was thanks to creative, sustained, hard work on the part of various city leaders. And then there was that other factor…

…which my friend, who picked me up from the airport, also mentioned. “But we’re not supposed to talk about that,” he quickly added. This was something I’d never heard of till I read it in Gallagher’s book, so, well done, Mancunians. But it’s not really quite a secret, just because I was unaware. I was living in Holt, MI and working at a TV station in Lansing in 1996…how could I have possibly heard of something so newsworthy?

Don't mention it!

Polite circumlocution in the Manchester Cathedral

What that plaque is not quite saying is that the IRA bombed City Centre (very near the cathedral, I’m told) in 1996. Following that attack, naturally, people rallied to rebuild whatever was damaged, and it mobilized a lot of good energy, it seems.

I’m not qualified to really analyze all that after one week in the city all these years later. But I can report on this little bit I’ve seen, heard, and read. In my not-so-qualified opinion, despite all their similarities, Detroit and Manchester have very different stories, especially from their lowest points on up. The cities have, have had, and will have very different paths, and quite possibly the only thing Detroit can learn from Manchester’s success is that such things are possible, and they take a lot of work, and a lot of civic-mindedness.

Crap. We don’t really have that in Southeastern Michigan. We have a toxic city-suburb divide, which is largely our own circumlocution to bypass actually talking about race and class. (Except that we’re always talking about race and class, just not productively.)

The Metro Times (Southeast Michigan’s alternative newsweekly) recently published a blog post anyone fascinated with Detroit should read, titled, “Please, please, please: Stop ‘saving’ Detroit.” Just as Manchester wasn’t “saved” by a single factor (or, ahem, Factory), Detroit won’t be either. Detroit’s already a great city, just as it’s been for a long time (by American standards, that is), and it will continue to be. The good news is that the good things happening here are piece-meal, grass-roots, and idiosyncratic, just as you’d want them to be. You might not want to get lost in our streets just yet…but there’s a lot to explore here. And a lot of creative, sustained, hard work to do. Just as you’d want it to be.

You’ve made it to the end of this post. Enjoy a couple more photos from my trip!

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My flight, which went through Paris, was the day after the Charlie Hebdo incident. This photo was taken on January 10, 2015.

My flight, which went through Paris, was the day after the Charlie Hebdo incident. This photo of a street artist at work (with chalks) was taken on January 10, 2015 in Manchester City Centre.

"The Sound" and the "Source": Thoughts on finding your voice

THE SOUND

Forty days and forty nights among the elements –
earth and water, wind,
and spirit’s fire –
After my ears have calibrated to this silence,
a polyrhythmic solitude
retrains my ear
To discern deep in the white noise of my loneliness
a holy voice,
its wild modulations crafting a new language
out of my words and its own.


This poem is from To Kiss the Sun and Mean It (2000). I thought it would make a good namesake for this blog. 

So while I’m revealing the source of my blog title, I might as well share this poem, from 1997’s Deciphering Scars:

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I’m making notes by candle light.
Thoughts drip slow and hours hum,
unmoving, like this halo-glow
that barely aids my tired eyesight.
All this could change should morning light come.
Words, whose timbres sing through charged ozone
are clay that oozes sensuously
through jittery hands that cannot say
what they mean. The clay intones
this small flame’s simple melody.



So these are a couple poems about finding your voice. I’ve had to do that several times. I think anyone working in any art form can attest to the fact that you have to keep re-learning your craft from time to time, either to avoid stagnation or in response to changing circumstances. This blog so far is a place for me to re-publish my old material; in the meantime, I’ve been through that re-learning process yet again. It makes you re-assess your older material, too. This blog certainly will not contain the old material I no longer like! 

With the possible exception of this one. I still like it, but recognize that it’s not the best poem I’ve ever written. But it has a story:


PRAYER IN THE DOWN-TIME

Memories encoded in scars,
carved into this tender flesh by sharp-shooting stars;
Vision painstakingly sculpted by blind hope;
Eyes caress the boundaries that fingers grope,
and I wait for you
To call forth nothing from my masochistic ploys
   and to breathe life into my empty, fledgling voice.

 
Poetry for me had always been an art brut, sort of the equivalent of your typical teenager picking up a guitar and starting a garage band. I didn’t have a guitar or a garage, but I had pen and paper. First things first: I poured my feelings into all kinds of verse, realizing I didn’t have much to say, but that I needed to learn how to say what little there was. That would be the “clay that oozes sensuously through jittery hands that cannot say what they mean.” For a long time, my writing was driven by mood. Images and words would follow, and I would sculpt them. It was a technique that came to work for me, but it didn’t allow me to begin with an idea.
 
“Prayer in the Down-Time” precedes that particular technique, though. I hadn’t been writing for a few years, following a friend’s comment that “no one wants to listen to you whine.” Fair enough. But if I wasn’t going to “whine,” though, I had no clay to work with. 
 
One afternoon in my Lansing-area apartment, I was listening to Black Tape for a Blue Girl’s album, Ashes in the Brittle Air. For whatever reason, some words in the song, “The Scar of a Poet,” seemed to smack me upside the head and say, “The only voice you have is your own. Use it.” (The actual lyrics include the phrase I had tattooed on my arm a couple years later: “Revel in your gift”.)
 
I’d found a dollar bill in my possession that had “AABBDCC” scrawled on it. “That looks like a rhyme scheme,” I thought. So I decided to try it out. “Prayer in the Down-Time” is my response to “The Scar of the Poet,” using that dollar-bill rhyme scheme. What resulted was renewed experimentation with my poetic craft. I hope time proves that to have been a good thing.
 

What is your art form? (Even life is an art form, really.) How have you had to redefine or re-attune your voice? What are your experiences in the ongoing process of learning and re-learning your craft?