Next door to McCormick’s, a telescope sits,looking over the harbor, inside all of what is,for a new constellation, the hidden dancers.

And I was really glad I did it because when I was out there I was able to complete the trilogy, I finished up the book “City of Eternal Spring” out there. In a very ironic way I think that spoken word has the same problem because that audience contact and that audience affirmation is a certain intellectual enterprise, you know? Afaa Michael Weaver is the author of numerous poetry collections, including: The Plum Flower Dance: Poems 1985 to 2005; The Government of Nature, winner of the Kingsley Tufts Poetry Award; and City of Eternal Spring, winner of the Phyllis Wheatley Book Award. And once I began to realize just where I was the challenges became very apparent. And there’s a book of mine called “Sandy Point”, which was a handmade book that was produced when I was at Bucknell as poet in residence in The Stadler Center in the spring of ’97, and there were only 150 copies so it wasn’t available to many people, but inside that book are poems that are clearly on the way to what’s inside “The Government of Nature”. So I would say, yes, it is a matter of traveling that landscape. I ordered a copy of his selected poems because I couldn’t find my old copy, and sat down and started reading his poems. To revisit this article, select My⁠ ⁠Account, then View saved stories. I wonder if the mind’s landscape can be conquered in a similar way, and if one can make an interior conquest of the mind in order to truly live. BE: Did you find you were working with some of the concepts and developing metaphors to address the ghosts that had kind of accrued over the years and then that name (Afaa), or perhaps Buddhism, unlocked the final door to a consciousness that allowed you to come to terms with these things? And, when I was younger and I looked out, and I was working and studying as a factory worker, I looked out on the landscape of work being done by poets, African American poets, some of them in the political realm, and I didn’t see a lot of people writing about the interior lives of black people. I wonder if recognizing your own mind’s capability for repression with regard to the sexual abuse you experienced in childhood taught you anything about the nature and function of memory in poetry?

I wonder if you’d agree; and if you’d speak to the ways in which this observed dichotomy might be indicative of a larger cultural trend and direction in this country in particular?

AMW: That’s an interesting question, I took the name “Afaa” in the Spring of ’97 while I was out there at Bucknell, and I was working on those poems in that collection “Sandy Point”, that handmade book, it was made by a couple who had a press in the back of their house there on the Bucknell campus.

(Previously known as Michael S. You know, you don’t want to say to someone “Oh, you should wait for this or that”, but I do want to say that you should think maybe more about living and writing. And at an early age I decided, “well I just have to do that”, you know? Afaa Michael Weaver (蔚雅風 in Chinese, and previously Michael S. Weaver) was born and raised in Baltimore, Maryland, where he attended public schools.

Sometimes in meditation, things may appear but if you persist with your focus they will dissipate and you will go into something else. [4] Tess Onwueme, the Nigerian playwright, gave him the Ibo name "Afaa," meaning "oracle," while Dr. Perng Ching-hsi has given him the Chinese name "Wei Yafeng. But then once I started writing “The Government of Nature” in the spring of 2005 I began with poems about nature, and didn’t really know how all of that… I just started writing.

The collection seems to evidence your departure from a smaller, more conventional notion of the “self” to a more dynamic and inter-connected one.

A 2002 Fulbright Scholar, Weaver’s further honors include fellowships from both The Pew Charitable Trusts and the National Endowment for the Arts. I think it’s an incredible book, it’s incredible work. And that was “Timber and Prayer”, I was 43 years old, and I look back on it now, if that had happened I probably would not have gotten to any of the rest of this work.

And after I did the segment on the nature poems I contacted Pittsburgh (Press) and suggested “The Government of Nature” as a book to do. BA, University of the State of New York.

So, as an experienced person, the teacher he was, he gave me that rooting in a kinesthetic understanding of the concept of change and flux.

And in the tradition in which I was raised I had the example of Christ enduring the suffering and then in the Buddhist tradition you have Buddha going out in the world to experience what he saw as suffering in order to transcend. Thanks for inviting me. Inside the plant we could apply for different job positions and so I applied for a position in the warehouse in 1975.

In this version of the city, no one dares read,ragtime grows underneath Washington’s obelisk,not a monument but a threat to the clouded sky.

To me that’s an enlightening statement.

In the book, “Talisman”, that came in 1998 when I uncovered the memory of my uncle, there’s a poem in there called “Little Girls” which is about my third marriage, in that book the first half is given to my mother and the second half is given to my three wives and a lady friend who appeared in the midst of, or near the end of the third marriage, and I wrote that book after… I was working in theater actively—when I went to Brown I spent just a little bit of time in poetry, 85% of my time at Brown was in playwriting and theater, and as a playwright you have to know yourself, and I was writing plays prior to the time that the memory emerged, and I’m writing plays, I’m working on a play now, that to say that I had two plays produced professionally in 1993, the second one was done in Chicago at a theater on the Southside called ETA and the producer and founder Abena Joan Brown, she’s in her 80’s now, she was a clinical social worker before she opened the theater, and she was a very investigative kind of person, and she said to me once: “You’re such an angry person, this exterior being nice, you’re so angry”. I called him one day to ask if he would write a letter for this grant I was trying to get, or fellowship, and I said “Phil, it’s me Mike, the guy who worked in the factory.” And he said “Oh yeah you made 15 years, I only made 7…” or 6 1/2 or whatever it was. Having lived in that world, and being born into it, I still find myself… That sensibility never leaves, you know? Afaa Michael Weaver (蔚雅風) was born in Baltimore, Maryland, in 1951.

I see Christ’s teachings as being about a certain simplicity, and understanding that there is God’s grace which is the grounding of this harmonic relationship between these things we see in the world. Spoken word is performance and performance requires a certain intelligence and intellectualism that may not be all about reading per se, but I think the same thing does happen all to often, you sell yourself short by what you get in terms of audience affirmation in that world, and what some poets may get in terms of literary awards in the quote unquote page world.

And up to this point I think what I’ve been trying to do is to show what people like me, what working class people are capable of doing. I wonder if you’d agree that suffering is the great purifier; if you think it’s possible for one to attain a higher degree of consciousness without first enduring pain?

And at the time America’s working class base was much different than it is now, and so I left the steel mill after the first year, after serving in the military, well, basic training rather, came back home and got a job at Procter & Gamble and I found myself on packing floors trying to write at home in my spare time and develop a reading schedule, and it was an incredibly difficult time.

Lucid and sensuous, Weaver’s is a poetic voice rooted in both craft and a spiritual practice that helped him to transcend a complex, and often difficult past.

And, you know, you emerged and you grew in the exact manner that you were intended to and everything led you to here, and me to here, and this discussion, and I find that really fascinating. There really is no scientific definition of the mind, and philosophers go back and forth about whether or not the mind is a function of the physical organ, the brain itself, or whether it’s a combination of that and the activating and governing force from outside the body. I guess, is that accurate? Ben Evans: I’m Ben Evans and you’re listening to Fogged Clarity.

I’ve marveled, in studying your journey, at your ability to continually accept and adapt to adversity.

It’s not happening to everyone that way, but I see it happening often enough. Weaver.) Afaa, thank you so much for taking the time. If it doesn’t kill you, you grow. It makes you grow.

But we were up there and we were talking in Chinese about Taoism, and he was from mainland China, he had traveled to Taiwan there for the conference.

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