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Monday, February 23, 2004

two whole days off in LA! much laying about in the hotel. but I did have to write something for tonight's debut of the new "Raising the Red Tent" format tonight at Bar 13, so I'll post that here. and now I have to go pack -- super annoying thing: I check out of this hotel today, fly to Fresno, come back and check BACK INTO THE SAME HOTEL tomorrow night. Ridiculous! I'm not absolutely certain this rambling on Adrienne Rich makes sense, but here it is:

Because the interior world is both fragment of and sculptor of both the immediate and far
exterior world – politics, the other, struggle, evidence of hunger – Adrienne Rich's poems dwell on the backs of eyelids as well as the barrels of submachine guns. Which is to say, her concern for the world as a troubled and bellicose place does not eclipse, but rather deepens her concern for the life of the body/self/mind –

“And my incurable anger, my unmendable wounds
break open further with tears, I am crying helplessly,
and they still control the world, and you are not in my arms.”
(poem IV, Twenty-One Love Poems)

For me, Rich's poems (and essays) serve as a reminder that we are only irrelevant if we decide to be so – that at the very least, the act of writing out of silence, of breaking the blank page with the closest words we have to truth (“what in fact I keep choosing / are these words, these whispers, conversations / from which time after time the truth breaks moist and green”), brings us closer to the better world we dream of creating. That words create reality – and that with this constant attempt to voice change into being, to disrupt the status quo that keeps us divided and fighting, comes a concurrent dedication to disrupting the known or expected form of poetry itself.

Seeing Adrienne Rich read at Barnard last year, from a sheaf of papers containing new, unpublished work – she who could rest easily secure on reputation and merit, never writing another poem – seeing her still plowing and sowing new ground stylistically, still reaching to new subjects and objects, still indicting both self and the world – taught me, as her work does, that we invent ourselves and the world word by word. That craft is the beginning, meaning the middle, and the end beyond our ability to know.

XIII(Dedications),
from An Atlas of the Difficult World

I know you are reading this poem
late, before leaving your office
of the one intense yellow lamp-spot and the darkening window
in the lassitude of a building faded to quiet
long after rush-hour. I know you are reading this poem
standing up in a bookstore far from the ocean
on a gray day of early spring, faint flakes driven
across the plain's enormous spaces around you.
I know you are reading this poem
in a room where too much has happened for you to bear
where the bedclothes lie in stagnant coils on the bed
and the open valise speaks of flight
but you cannot leave yet. I know you are reading this poem
as the underground train loses momentum and before running
up the stairs
toward a new kind of love
your life has never allowed.
I know you are reading this poem by the light
of the television screen where soundless images jerk and slide
while you wait for the newscast from the Intifada.
I know you are reading this poem in a waiting-room
of eyes met and unmeeting, of identity with strangers.
I know you are reading this poem by fluorescent light
in the boredom and fatigue of the young who are counted out,
count themselves out, at too early an age. I know
you are reading this poem through your failing sight, the thick
lens enlarging these letters beyond all meaning yet you read on
because even the alphabet is precious.
I know you are reading this poem as you pace beside the stove
warming milk, a crying child on your shoulder, a book in your hand
because life is short and you too are thirsty.
I know you are reading this poem which is not your language
guessing at some words while others keep you reading
and I want to know which words they are.
I know you are reading this poem listening for something, torn
betweeen bitterness and hope
turning back once again to the task you cannot refuse.
I know you are reading this poem because there is nothing else
left to read
there where you have landed, stripped as you are.

Thursday, February 19, 2004

Too tired to write much, but quick update: my nose is sunburned after two days of shows in Arizona, and we just flew back to LA from there on a private jet, so that we can work tomorrow and Friday and have the weekend off (desperately needed time off.) The woman from Road Rules who was supposed to help "gather crowd" for the shows managed to be drunk about 90% of the time (17 shots of tequila in an hour. 17!) Did I mention that we flew on a private jet? It was crazy. Anything else interesting? I'm too tired to remember. Roger gets in from Sacramento tomorrow, has a show in Orange County tomorrow night -- so much running around.

Hoping to do some actual writing soon... more later...

Friday, February 13, 2004

Memphis, after two days in... where? this tour has destroyed my sense of space, time, and location. we were in Mississippi, that's it. Starkville Mississippi for two days. We really have to figure out how to make the shows work in noisy locations -- without destroying our voices. More on my internal issues regarding the challenges of this tour later, when I have time and don't have an early early call -- we're performing at a high school tomorrow, here in Memphis, then getting on planes because we have the weekend OFF!

San Francisco, yay. Two days and nights with no rehearsal, yes hotel but Roger will be there. Part of me wanted to stay on somebody's couch just to be in an actual home -- but sanity won out.

So in poetry news, I've been reading "Chemical Wedding" by Robyn Ewing. It's strange and wonderful at times, very Jorie Graham-esque (appropriate since she's the one who judged the Colorado Prize the year this book won) -- although it does traipse into dangerous (in my opinion) territory fairly often by valuing language over meaning, I feel that the best/only way to express certain situations, certain moments of madness or dislocation, is by letting go of traditional ideas of form or meaning or sense-making. And that, she does particularly well.

My goal is to take that destruction of language and form and hope to still convey emotion, at least, if not exact meaning in the same way that narrative or imagistic poetry does. So here's todays attempt at that. More later.

into the otherdark, reaching

think: poem as equation
sum/some ending, multiple
Xs and bilateral sequences
of meaning : therefore
irreducible, the least
/ what is distance, geography
of obvious absence, lack the
variable subject, solve for
similarity in style not to be
taken for conscious progression,
diagram + nonconcentric circles
= proof and is it God or the unread
introduction / pawn shop
logic by which survival =
connection, knotted vein, sure thing
exponent. mother squared, far.
purpled history, better left
and now: solve for crescent.
+ gap. synaptic stutter, fried wish for
hands calculation a certain smack
+ uncrooked intent the poem
narrowing (touchless) into binary
static reach tautmuscled into void
void void.

Saturday, February 07, 2004

so much to tell. so let me back up and try to tell the stories in order.

New Hampshire:

It is beyond cold in New Hampshire. We are in a town whose name I don't know but is the textbook definition of quaint. I keep expecting a horse-drawn buggy to pull up just to complete the picture.

We are rehearsing madly to get the DJ integrated and have the show ready for our first college appearance, at Keene State. So to avoid room service charges, the Subway across the street from the hotel becomes a frequent stop.

UNTIL the tour's first great story begins. So Gina and I go into Subway, get sandwiches, pay for them, and leave. Service is fine, not quite small-town cheerful but fine. Steve and our DJ, J Period, enter the store shortly after we leave. Steve orders a six-inch sandwich. The man behind the counter begins to assemble said sandwich, including approximately three olive slices. (Trust me, this is significant later.) Steve asks for more olives. The man is clearly annoyed and says “That's twenty-five cents extra” and Steve jokingly responds, “oh, the first three olives and free, and then there's a charge?” and the man is not amused. Fine, so the extra olives go on.

J. orders a foot-long sandwich. When the requisite three small olive slices are placed on his sandwich, he too asks for more. The man, highly annoyed now, says “it's fifty cents for extra on the foot-long” so J. decides against the olives.

As they approach the cash register, the man behind the counter asks which campaign they're with (remember that the primaries are in town, so most out-of-towners are with some campaign.) Steve explains that they are with a voter empowerment campaign called “Declare Yourself.” To which the man responds, “Declare yourself? You should try declaring Jesus, you'd have better luck.”

Yes indeed, Declare Jesus. I should mention at this point that J is Jewish. He responds, “Why would that be better than declaring yourself?” and the man says “Because declaring yourself is arrogant and presumptuous.”

At this point, they're ready to go. J asks if they could just pay for their sandwiches and leave. The man says “No, and I'm sick of your attitude. You've had an attitude since you came in here, with the olives and all, and I don't have to take it” -- and he takes the sandwiches off the counter and tells them to leave.

J asks for his name, the man says why, J asks to speak to his manager, the man says he is the manager and if they don't leave immediately he'll call the cops, picks up the phone and calls the cops. J and Steve are stunned into immobility – note that neither of them has raised their voice above a conversational level yet. The Subway man calls the cops. As they're leaving, Steve says something along the lines of “You know, you're not being very Christ-like right now.” And the man says “Yes I am. I'm standing up to tyrants.”

Did you catch that? "I'm standing up to tyrants." Tyrants! Olive tyrants! Declaring ourselves tyrants!

So the cops pull up outside where J and Steve are standing within minutes, give them a hard time about the “situation” and tell them it's that man's “house” and they're no longer welcome there. Tyrants! Blasphemy!

So we had to eat elsewhere for the rest of the stay.

New York City!

We stopped in NYC, performed the poem for MTV which was nerve-wracking because Norman was there looking mildly displeased and it was all kind of crazy.

Then the blizzard hit, which wasn't fun.

Then we had to perform at Joe's Pub.

Let it be known that I love Joe's Pub. I think it's a great space. Let it also be known that very early on when the possibility of our performing there came up, I questioned several times the advisability of our performing at a function that was basically a party and therefore drawing a crowd that was not going to want to listen to us.

I was ignored. So we get there. Find out that the organizers thought we were performing for 15 minutes with music. We were planning on a half hour with no music.

We go on, because Norman is there and we sort of have no choice. Steve takes the stage to introduce us. In an effort to make a joke out of/about the very loud clump of rather large drunk men in a booth, he says something about applauding for the group of Shakesperean-trained actors he's hired to pretend to be drunk guys in the crowd.

The large drunk men are not amused.

Gina freestyles and then sings and then does a poem. She is fairly well received, though it's generally noisy. Sekou does a loud poem, is fairly well received, though it's definitely noisy in the bar.

I get onstage, make some cute jokes to try to get the crowd on my side, and do Harder Than Flesh (figuring what the hell). The crowd is good for half of it, then get noisy again.

Steve takes the stage. The drunk men are not amused. He does a much longer poem than I would have chosen given the circumstances.

Roger, unbeknownst to me, is waiting for the men to say something offensive enough specifically to me so that he can throw a candle at them. I'm glad in hindsight that this did not happen.

We eventually clear out down the street to Bull McCabe's, pissing off the organizer who clearly thinks we should stick around for $15 drinks. Drinking and talking politics with Norman Lear and Beau Sia at 3 a.m. during a mild blizzard is highly surreal. I love New York.

Earlier in the night, I introduced Norman to Roger and he said "Thanks for the lady." As if Roger made me out of popsicle sticks and lent me to the project. Hilarious.

From New York we went to South Carolina, stopping for one uneventful night in DC.

One would think it'd be warm in South Carolina. One would be wrong. And yet we performed outdoors. In the cold. On a stage on a semi-muddy field that no student wanted to cross.

The plan is for us to perform the show several times on each campus, during class change times, so that crowd can build and word can spread. I was on the tour bus staying warm between shows when our stage manager ran on and told me that there was a fire alarm in the student union building directly across from our stage, so we needed to do the show RIGHT NOW. Which was a good idea except that the DJ was a solid hundred feet behind us and the speakers created this strange echo delay that meant we would hear ourselves speak and then hear ourselves again through the speaker about 30 seconds later.

We have to figure out how to make this work. It's way too much effort to put into something that isn't pulling and holding crowds.

The hotel is lovely – free breakfast buffet and open bar every night from 5:30-7:30 – but isolated, so I barely left the building. The morning we left, the restaurant manager saw me and said “you're still here?”

Gainesville Florida is warm. The school won't let us have music at all, and the sound is not allowed to exceed 85 decibels (apparently regular speech is about 50 decibels.) The school also has us set up the stage near the student union, a high traffic area.

The issue with this high traffic area is that students are, well, trafficking. Getting food and getting to class. Not hanging out, not having time to stop and listen to a bunch of poets.

So we find out that there's another, more appropriate area we should check out. Sure enough, here students are sitting around talking, studying, etc. Unfortunately, here we can't use amplified sound at all, and we have to compete with a super-Christian woman who is bellowing at the students such commentary as:

“Jes-us dis-crim-in-ated. Girls, you must dis-crim-inate. You must be prej-u-diced. I hear there are a few virgins left in the fresh-man class – hold tight to that! Be guarded! you young people, I know what you are doing! using mar-i-juana! getting drunk at fraternity parties! Je-sus knows what you are doing!”

but the best was her tirade at a guy whose phone rang during her rant: “young man! I know what you people use your cellular telephones for! I know you are into that tele-phone sex! repent!”

So yeah, we performed against that backdrop. And later when we came back, she was off sitting with her daughters (pray for them) and her husband came with his small folding chair and Bible to sit directly in front of where we were performing and TAKE NOTES. I was sure he was going to start yelling, but he waited until we were done to begin haranguing the crowd that had gathered.

New Port Ritchie Florida is very warm. Unfortunately, here we are in the jankiest Ramada known to humankind. I'm sure that on paper it seemed fine, but the rooms smell like someone was killed and they covered it up with cheap air freshener. My room is mint green, and has no clock. None.

There is, however, karaoke in the hotel bar every night. So Steve and Robin and I ventured there. I went largely because the room was creeping me out.

To avoid any pressure to actually perform “well,” we selected songs for each other. Robin made me sing George Michael's Father Figure. I gave Steve Creed's “Higher,” and Robin was granted the pleasure of performing M.C. Hammer's classic “Can't Touch This.”

Understand that the man running the karaoke sings between every third song, and is VERY SERIOUS about it. He can actually sing, which somehow made it all sadder. The other bar patrons could not sing. Which stopped them not a bit from being VERY SERIOUS about it. We of course were very obviously not serious, which displeased the karaoke man into singing parts of our songs to help us get back on key. It also motivated a couple into telling us on their way to the stage after we'd each performed, “we're going to do a silly one, like y'all.” And then they sang George Michael's “I Want Your Sex” and never cracked a smile. Not once. VERY SERIOUS. So then finished our incredibly weak drinks and left. I tried to get Twizzlers from a vending machine (no room service, of course, and I was hungry), and got a Nutrageous candy bar instead. Sigh.

The next day, we performed at a voter day thing at the local middle/high school. There were lots of very small children there, which was odd. But it went well, and apparently one of the organizers is David Letterman's sister. I'm hoping she's the one who said we made her cry. :)

Tallahasse, Florida: 50 degrees and sunny.

What's funny too is that I'm normally not all that picky about hotels. In my normal life (outside this tour,) it's just a place to sleep for a night that's not home. So clean and basic is plenty. Now that home IS the hotel, and the next hotel, and the next one, everything's way more important. It's a strange shift in perspective. The hotel we're in now is nice, but I find that with the prices they're charging, a free breakfast is in order. But reportedly there's a fitness center, which is helpful.

We have today and tomorrow (Saturday and Sunday) off, except for some writing. So we don't have to see each other, which is grand. Everyone's lovely, but this is mighty close quarters for people I barely knew, if at all, a few months ago. It'd be nice to have had time off where it was 80 degrees, but staying in the serial killer/karaoke Ramada is a bad bargain.

Next Friday we get a real break and I'm meeting up with Roger in San Francisco for two nights. Then it's off to Tucson.

I'm sure there are more interesting things I could include, but they'll come to me later. Oh, the tour bus has a big rendition of my face on the side, in blue. I posted pictures of it and some other stuff on the web site: www.martymcconnell.com. Strange days indeed. I need to try to do some poetry writing now.

Monday, February 02, 2004

a thousand apologies! we survived New Hampshire and the Subway olive tyrant, hecklers at Joe's Pub in NYC, and had a Real World moment here in South Carolina, and I have not had time to update you on any of it, the ephemeral plural you who perhaps reads this thing.

I will update soon, I promise. full stories. I started reading our old Morrigan road journals, and realized how much I need to document this tour.

So meanwhile, go to www.themorrigan.com and click on "trip and tell" for far more bizarre and fascinating and hilarious entries than those posted here. We have a show and then a Friendster reception (happy hour with voter registration) tomorrow, and then early Wednesday we're off to Florida. It's going to be a crazy week, and now I have to go to rehearsal. Maybe today I'll actually leave the hotel.

oh, here's a poem. as always, feedback is welcome/invited:

St. Joan

I love that the miracles were ordinary, really,
leading exhausted battalions into and out of
impossible fights made not so by faith, a girl
on a horse at the batttlehead of men afraid,
as we all are, to die, wanting to turn back
(reasonable, fight or flight,) turning back,
many of them, in spite of the saint, the banner,
France, and she, drunk on a god with teeth,
insisting her loose handful of men an army
of 5,000, taking a city – several, most
of a country – before betrayal (of course),
before prison still in men's clothing, its laces
and ties a deterrent to fast-handed guards
with saint on their breath / before inquisition
and trickery, the dress given and stolen, girl
in a cell, male guards and men's clothes
returned, laces and ties and declaration: Joan
the lapsed heretic, guilty of cross-dressing
(the church, of course, forbids it) and fire
at the stake, the dress (at last) catching, skin
blistering, flammable / burn, Joan / your God's
pocketful of miracles were never for you.