Geraldine R. Dodge Foundation

Martin Farawell, Program Director, Poetry

Andrew Motion was the son of a brewer, and grew up in an environment that he describes as “very unbookish indeed.” Yet he went on to become a critically acclaimed literary biographer, established the Poetry Archive project and website in the United Kingdom, and was England’s Poet Laureate from 1999 to 2009.

His background is often reflected in the imagery and diction of his poems. The setting is often domestic or rural, and the tone of the poems decidedly understated. We feel both comfortable and welcomed. Within the first few lines of “A-1 Mechanics” we feel that this poet is a guide we can trust, taking us to a place immediately recognizable.

The vivid images Motion creates with such lucid language bid us enter deeper into his poems. We go willingly because we feel we know the place and the speaker. Once we enter fully into an Andrew Motion poem, we discover, again and again, that beneath the inviting surface more troubling emotions and memories lie submerged.

Motion’s many poetry collections include: Selected Poems 1976-1997, Public Property, and most recently, The Cinder Path. His Philip Larkin: A Writer’s Life, which won the Whitbread Biography Award; and his life of John Keats, Keats, are considered essential reading for students of these two poets.

Be sure to return for upcoming Poetry Fridays, when we will feature many poets from past Dodge Poetry Festivals in the weeks ahead.

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The Geraldine R. Dodge Poetry Festival in Newark is October 7 – 10!
For more information, visit the Poetry website.

Follow the Dodge Poetry Festival on Twitter
Become a fan of the Dodge Poetry Festival on Facebook

Martin Farawell, Program Director, Poetry

Kurtis Lamkin is a contemporary American embodiment of the ancient West African griot tradition, which blurs the boundaries between poet, singer and storyteller.

The griot, bard or troubadour has been a fixture in all cultures since before the advent of written language. It is believed that such bards passed down the legends of the Trojan War and Beowulf for generations before they were set down in the versions now familiar to us, and that Homer himself likely half-chanted half-sung large sections of the Illiad and Odyssey and accompanied himself on the lyre.

When he performs, Kurtis Lamkin often accompanies himself on the kora, a twenty-one-stringed West African harp-lute. He not only composes on and plays the kora, but he makes them by hand. This sense of the intimate bond between performer and instrument is also part of the griot tradition.

In recent decades, there has been much debate in academic circles in the United States regarding the place of politics in poetry. But in the griot/bardic tradition, there is no debate. The poet is seen as someone directly involved in the life of the community, and commentary on events that impact the community is not only accepted, but expected.

We assume our troubadours will sing us love songs, and Lamkin gives us one, but they have also been seen as the chief chroniclers of their times. In Elizabethan England, the news stories of the day were passed on through popular ballads. Like Lamkin, the griots and bards of the past always performed this function with humor and satire.

Lamkin has released a number of CDs of his work, including: My Juju (1995), El Shabazz (1998), and Queen of Carolina (2001).

Be sure to return for upcoming Poetry Fridays, when we will feature many poets from past Dodge Poetry Festivals in the weeks ahead.

* * *

The Geraldine R. Dodge Poetry Festival in Newark is October 7 – 10!
For more information, visit the Poetry website.

Follow the Dodge Poetry Festival on Twitter
Become a fan of the Dodge Poetry Festival on Facebook

Martin Farawell, Program Director, Poetry

When Lucille Clifton set out to be a poet she had no models to follow; the figures in the canon did not look or speak like her, did not have her stories to tell.  She realized if she was going to have a life as a poet, she would have to make it herself.  And she did.

To hear Lucille Clifton read was to know immediately you were in the presence of an authentic voice.  She once said, “I don’t write to be admired.  I write to be understood.”  And, we might add, she wrote to understand.  She questioned and explored every aspect of her own life and experience, and turned an unrelenting gaze onto the times and the nation she lived in.

Under the force of her determination to communicate whatever she saw, she compressed and pared down language to a fierce clarity.  And she did not turn away from anything her vision revealed, regardless of the sorrow, regret or fury it might bring her.  Instead, she invited us to “celebrate with me/ what i have shaped into/ a kind of life.”

For anyone lucky enough to have witnessed them, her readings at the Dodge Poetry Festival remain indelible reminders of what poetry can aspire to and inspire in us.  Everyone at the Dodge Foundation is deeply saddened by her passing.  At the end of her poem, “sorrows,” she asks, “but who can distinguish/one human voice/amid such choruses of desire?”  We can answer her easily.  We can, Lucille.  We will know your voice anywhere and everywhere we hear or read it.

A generous sampling of Lucille Clifton’s poetry can be found in Blessing the Boats: New and Selected Poems 1988-2000.  More recent collections include Mercy (2004) and Voices (2008).

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The Geraldine R. Dodge Poetry Festival in Newark is October 7 – 10!
For more information, visit the Poetry website.

Follow the Dodge Poetry Festival on Twitter
Become a fan of the Dodge Poetry Festival on Facebook

Martin Farawell, Program Director, Poetry

In her novels, essays, and poems, Linda Hogan often explores the deep connections between how the damage we do to the environment damages us, and how the natural world we wound instructs us on how to heal both it and ourselves.

A descendant of the Chickasaw Nation, she is deeply learned in the traditions of her ancestors. She is equally knowledgeable of the complex social and political history that has shaped the crises of our times. In poems like “The History of Red,” and in novels like Mean Spirit and Power, Hogan explores the interconnections between these two world-views.

What she finds in her search cannot be confused with the diluted renderings of Native American spirituality promulgated in some new-age tomes. Hogan sees a natural world (which includes human creatures) that presents a far greater challenge to our understanding. In her poems, the soldier crawling toward life in a ditch filled with blood is given as close attention as the newborn passing through the birth canal.

Hogan understands that ceremonies are not to be taken lightly, and that the making and sharing of a poem is a kind of ceremony. In these acts, she does not invite us to be victims. On the contrary, she reminds us of what her study of both nature and history has taught her: We must climb or crawl through the fire “in order to live so nothing will be left for death in the end.”

“The History of Red” and “Other, Sister, Twin” can both be found in Linda Hogan’s The Book of Medicines.

Be sure to return for upcoming Poetry Fridays, when we will feature many poets from past Dodge Poetry Festivals in the weeks ahead.

* * *
The Geraldine R. Dodge Poetry Festival in Newark is October 7 – 10!
For more information, visit the Poetry website.

Follow the Dodge Poetry Festival on Twitter
Become a fan of the Dodge Poetry Festival on Facebook

Martin Farawell, Program Director, Poetry

Part of what has been unique about the Dodge Poetry Festival since the first in 1986 is the feeling it engenders of being in a place made for poetry. We live in a culture and a time that makes space for countless other things. Sometimes it feels as if there are so many coming at us so quickly we can barely keep up with them. More and more it seems that what demands our attention is designed to distract us from our inner lives, the rich source of imagination, reflection, creativity and renewal.

But every other year thousands come together to make a place for poetry. They travel from all the mid-Atlantic and New England states, and from Florida and Texas, from Michigan and California, and from nearly every state between, and from Europe, the Middle-East and Asia, to create a village with poetry as a living art at its center.

A village is made up of its citizens. This year the poetry village that is the Dodge Poetry Festival is gathering in Newark’s Downtown Arts District. As always, there will be days full of an overabundance of opportunities to encounter some of our most celebrated poets in conversations, readings, craft talks and panel discussion in an array of intimate and inviting settings. On Thursday night, October 7th, we will join together in NJPAC’s beautiful Prudential Hall to celebrate the launching of the 13th Dodge Poetry Festival. Won’t you join us?