You can’t say that at a committee meeting or at a dinner party. That’s the negotiation. “Attention is the most common and purest form of generosity.” That’s what I’m working toward.

I think this poem is trying to…” We start to collaborate and build this structure of recognition for ourselves, so that, when the critiques do come, they’re always in service of the idiosyncratic person. To be a citizen is to move through checkpoints to support your life. ,  Ocean was also named by BuzzFeed Books as one of “32 Essential Asian American Writers” and has been profiled on NPR’s “All Things Considered,” PBS NewsHour.

The Creative Independent is ad-free and published by. It’s okay if you’re not.’” You say that to someone, and at first, they go, “What’s wrong?

I’ve learned that doubt is a source of energy. For many of us on the outside, the journal became this liberated place where we get to unleash ourselves and speak perhaps more truly, more fully, than we can even to our loved ones.

If we talk long enough to anybody, we get to the space, but we’re not that far away. In my book of poems [Night Sky With Exit Wounds], one of the last poems I wrote was “Notebook Fragments.” It’s in the structure of a diary entry. It is not a place, but a feeling.

I just have to have questions, and I get to build a landscape where I get to explore them. Subscribe here.

I learned, relative to our creative spaces, that, for some reason, the art of recognizing one another in our goals was not privileged.

“What’s your stance? When I’m writing, it’s often walking, moving, rolling on carpets, thinking, reading, talking to people. It’s like, “Okay, bye. I don’t have that border between art and life. Where is a sentence you like? The impulse behind it—why you built your arc, why it’s important, what you put in it—that’s the hard work. Drafting essay and conferencing for essay and independent reading, HW:  Highlighting an area where you worked on ‘showing not telling’ and language, Fri 9/14 I’m afraid, “What if none of this matters?” Maybe this is the working-class roots of my family, where I feel like—I sit two days in a hotel, I get 10,000 words—what if it doesn’t matter?

I never expected anyone would care. The stranger-obsessive I went, the closer I got to everyone, because I was going into the space that did not have a social architecture. Eliot Prize, the Whiting Award, the Thom Gunn Award, and the Forward Prize for Best First Collection.

HW:  10 total entries to Encyclopedia of a Reading & Writing Life on Google Classroom! Each weekday morning, spend a few moments exploring the emotional and practical facets of creating with guides and interviews from different working artist. Our loved ones? This is how I want to live, and I get to choose.

“I see trees repeating. I was interested in writing the ghost of a novel. What do you like about it? Try typing something like "creative blocks", "spiral", "world", "green" or "blue" and our snail will find what you're looking for.

As if to say, “I’m going to refuse to create a whole finished product, but [make] the phantom of a product—the shards in the dirt. I never think I can do anything until someone I believe in says, “Try it.”.

Reading time and overview for conferences, HW:  Pre-writing for Who Are You? I can be uber-queer, uber-strange, and we can be uber-curious with one another. Ocean Vuong is an American poet and essayist based in New York City. , which awarded him the Stanley Kunitz Prize for Younger Poets. That’s where the work happens to me: in life.

My work is always sparked by other people. I’m thinking about what happened to our country in the West, with the Native American genocides. When I’m reading something wild, it came from that space.

We also have other newsletters if once a day is too much (or too little). Don’t write this down.”.

At first, I didn’t like it—I was writing beyond body. Everything in my life, I had to have this sort of official documentation for. “I’m sorry. Get on, then get off at your stop and find your people. Kickstarter’s creator-focused newsletter.

I don’t think anything is a sacrifice for the art.

Simone Weil says, “Attention is the rarest and purest form of generosity.” That’s my mantra to myself: Pay attention to people, what they care about, their worlds, their words, their aesthetics, their life.

We have this private language, and body language, that we use to talk to friends and loved ones. ', 'You once told me that the human eye is god's loneliest creation.

Don’t talk about that,” and we move through silences as people, we lose sight of one another. Send this article to yourself or someone else!

A recipient of a 2019 MacArthur "Genius" Grant, he is also the author of the critically acclaimed poetry collection. We could be on Mars and it would feel like home, because I feel free.

It’s the latter. If it’s broken, we rebuild it; we lose the traces of what made those breaks in the first place. You’re here…you made it. What happens when we do want to build that connection, that submersion, and all we have is, “How are you?”. Don’t get me wrong: You pull your hair out trying to figure it out, but that part, as long as you’re diligent, will come together. That’s where the work happens to me: in life. My work is always sparked by other people. Ocean Vuong is an American poet and essayist based in New York City.

The agency for joy is safety—and vice versa. I see something; I write it down. In Vietnamese, we don’t have past participles, so everything is spoken in the present, and whether it’s past or present depends on the last word. Shelby Gallo Professor Claxton Extra Credit 9/19/19 English Composition 1 Surrendering by Ocean Vuong When “Ocean There’s this capitalistic anxiety to fix it. That’s how the resentment comes.

Things of value take time to grow, and their living evolution can be an integral part of their beauty. It’s either you jump off the cliff and fly, or you don’t. I want it to be more about actual creation—looking at people making organic things with their imaginations. In class:  Hello! It’s a way to recapture it. We have a secret one that we use for ourselves, while we’re in a room on our own. In my workshop, I privilege reading in the context of the writer, and in the first four or five weeks, we don’t critique at all.

Ocean Vuong is an American poet and essayist based in New York City.

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We have this private language, and body language, that we use to talk to friends and loved ones. We’re complicated. Here’s a preview. A lot of times, we do feel that’s all we have.

I find a home in feeling. When I collaborate or talk with my friends, the place doesn’t matter. Natives were seen as landscapes to be tamed and eradicated, so I think about what happens to the imagination—to the cultural psyche—when an act of violence is such total obliteration, so complete, we can no longer trace it. Pay attention to people, what they care about, their worlds, their words, their aesthetics, their life.

Art exists there, too.” Even though a life is broken, it’s still worthy and capable of a complete story if we look at it in the ground zero, to the point where we can not even imagine what it looked like before the fracture. Then there’s this unknown. In his poems, he often explores transformation, desire, and violent loss. We just say what we see. We’ve been doing it forever in our diaries, so why can’t that, too, be literature? When I’m lost in the work, I’m curious. Hello, you’ve reached the end of this page.

We are hurricanes in a way, you know?

The writing sometimes takes me out of time.

I record?”. If the reader is extending trust and care to the writer, how do you do the same for yourself as you write? In workshops, we often privilege correction as progress. Everything is done through the body. Working with your group answer the following: Encyclopedia of an Reading & Writing Life brainstorming exercise (see handout) Maybe, in a queer body, that’s always a question: “How can we be of service to one another?” At least for myself.

We live here, but we also have the DNA of the mind; the personhood. they think of your profession as “scholar.”. It is a true, equal cooperation, because we need listeners.

In workshops, we often privilege correction as progress. I echo Robert Hayden’s mantra: “Nothing human is foreign to me.” There are days where I’m good at that, and days where I’m bad at that, but I try to work towards it. You enter a country, you go to the welfare office. I thought, “Well if the Greek root for ‘poet’ is ‘creator,’ then to remember is to create, and, therefore, to remember is to be a poet.” I thought it was so neat.

That’s comforting. HW:  Read and sign syllabus & visit the website. Every time we remember, we create new neurons, which is why memory is so unreliable. If memory is creation, then we open a notebook, and by writing words, all of a sudden, it’s this piazza of the imagination where we’ve put all of our favorite interesting things.

What about the fingerprint of the self?

The most pivotal thing for me as an artist was to be able to say “no” to those structures in order to say “yes” to the structures I want to create. The Italian philosopher Vico had this theory that time moves more in a spiral than it does in a line. Born in Saigon, poet and editor Ocean Vuong was raised in Hartford, Connecticut, and earned a BA at Brooklyn College (CUNY). That was a big question—I didn’t know it was possible. Can you have it in communion?

I only know how to teach one way. How has it felt to embark on this brand-new form? When I collaborate or talk with my friends, the place doesn’t matter. If you have been here before, you may notice things shifting.

Even though his most recent book, 2016’s Night Sky with Exit Wounds, was a collection of poems, Vuong is now engaged in the task of writing what he calls “the ghost of a novel.” His work is predicated on the notion that both reading and writing are acts that require generosity and a willingness to explore. You present, in some of your poems, that the future has already happened, and the past is happening still.

I just feel the dream.

It’s this long letter to my mother that she’ll never be able to read in English.

Sometimes, it looks more like a toilet-bowl spiral. Even though his most recent book, 2016’s, May 16, 2017 - Ocean Vuong is an American poet and essayist based in New York City. Selected by. Even though his most recent book, 2016’s Night Sky with Exit Wounds, was a collection of poems, Vuong is now engaged in the task of writing what he calls “the ghost of a novel.”His work is predicated on the notion that both reading and writing are acts that require generosity and a willingness to explore.

I can be myself. I have this uneasy relationship with how we have this desire to restore other culture; artifacts; art. Tues 9/4 “Surrendering” discussion.

I just want to know.” When we do that, the person relaxes, “Oh.” We give each other permission to go there.

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Just a little tweak in the language opens up so much, “‘When was the last time you saw somebody that make you happy? As soon as I opened my mouth, people started writing things down, and I panicked. The urgency becomes ritual.

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