Archive for February, 2009


Lessons from Geese

In one day I received this message twice, first from a client in Portland who brought in a copy of the text for me, and then as a video link from my friend Don Staley, the Brain Cell Coach, in Michigan.

Obviously it’s something I needed to be aware of and I’m passing it on to all of you who might not have come across it yet.

Lessons From Geese

This was transcribed from a speech given by Angeles Arrien, author of The Four-Fold Way, at the 1991 Organizational Development Network and was based on the work of Milton Olson. It circulated to Outward Bound staff throughout the United States.

FACT 1:

As each goose flaps its wings it creates an “uplift” for the birds that follow. By flying in a “V” formation, the whole flock adds 71% greater flying range than if each bird flew alone.

LESSON:

People who share a common direction and sense of community can get where they are going quicker and easier because they are traveling on the thrust of one another.

FACT 2:

When a goose falls out of formation, it suddenly feels the drag and resistance of flying alone. It quickly moves back into formation to take advantage of the lifting power of the bird immediately in front of it.

LESSON:

If we have as much sense as a goose we stay in formation with those headed where we want to go. We are willing to accept their help and give our help to others.

FACT 3:

When the lead goose tires, it rotates back into formation and another goose flies to the point position.

LESSON:

It pays to take turns doing the hard tasks and sharing leadership. As with geese, people are interdependent on each other’s skills, capabilities and unique arrangements of gifts, talents or resources.

FACT 4:

The geese flying in formation honk to encourage those up front to keep up their speed.

LESSON:

We need to make sure our honking is encouraging. In groups where there is encouragement, the production is much greater. The power of encouragement (to stand by one’s heart or core values and encourage the heart and core of others) is the quality of honking we seek.

FACT 5:

When a goose gets sick, wounded or shot down, two geese drop out of formation and follow it to help and protect it. They stay with it until it dies or is able to fly again. Then, they launch out with another formation or catch up with the flock.

LESSON:

If we have as much sense as geese, we will stand by each other in difficult times as well as when we are strong.

Poverty Consciousness

“Poverty consciousness no longer serves awakening humans in today’s world.”  ~  Tommi Mäkelä

MFA Notes: Barry Lopez

Barry Lopez spoke as a visiting writer at Pacific University’s MFA program winter residency.  I loved his introduction: “When you show up, you bring big trouble.”  This from the soft-spoken writer who documents the connection between land and people.  He answered the questions: Who are you?  Where are you from?  and Why are you here? in a sense, teaching us by example what we need to do in our writing as we claim the authoritative voice.  Barry pointed out though, that the reader is the one who grants the authority.

“To write,” he said, “is to enter into a moral relationship with oneself and with the community.”  Having the ability to write down what you mean, and a stranger being able to comprehend it, truly, “you are in the landscape of miracles.”

Barry shared a beautiful word, the Japanese kotodama, which means the soul or spirit of a word, the spiritual interior of a word itself.  He reminded us that we must write with a bow of respect to the material and to the reader.

Zen Archery

Eugen Herrigel, in his book Zen in the Art of Archery, wrote, “The archer ceases to be conscious of himself as the one who is engaged in hitting the bull’s-eye which confronts him. This state of unconscious is realized only when, completely empty and rid of the self, he becomes one with the perfecting of his technical skill, though there is in it something of a quite different order which cannot be attained by any progressive study of the art…”

So too in writing.

MFA Notes: Kim Barnes

Kim Barnes, author of the new novel A Country Called Home (and my thesis advisor!) told us, “Even if it’s a personal story, it’s NOT ABOUT YOU.”  That statement will forever change the way I think about memoir.  There is always a much larger, more universal, story surrounding any of the events we write about.

She reminded us that our service must be to the story first, to the craft, not to our personal experience.  We are to “shine the light of why onto the what of the essay.”  The “what” in nonfiction is always false tension; the actual tension lies in the “why,” the emotional arc of the story.

MFA Notes: Kwame Dawes

I can still hear poet Kwame Dawes saying, “born at de right time,” in his smooth Jamaican accent.  He opened his craft talk with a brief biographical sketch: born in Ghana where he heard stories of glorious Jamaica from his father.  When he moved with his family to the island, he discovered a far different place and culture than he had imagined.  “I was trying to find home,” he said.  Was he a Jamaican living in Africa or an African living in Jamaica?

Questions surfaced regarding the search for self in art.  How do we fit into the works created by authors in other lands, other cultures?  How does their writing define our own culture?  Or how do we place ourselves in art that does not typically include people like us or cultures like ours?

I did not realize at the time that Kwame’s book on the lyrics of Bob Marley is the most authoritative text on the subject.  Kwame spoke of how Marley wrote the narrative of Jamaica and the culture through reggae.  It was a “present music” including both the collective history and the events of the day.  We were left with a reminder to “be engaged in what makes the times what they are.”

MFA Notes: Jack Driscoll

Jack Driscoll described what he attempts to do through writing, “To speak what it feels like to be human.”  As far as I’m concerned, he could have ended his craft talk there and left us with the inspiration and invitation to go forth and attempt it for ourselves.

He encouraged us to “undress” our characters, literally (if that happens to be part of the story) and metaphorically.  To allow the inner-workings of a character’s heart and psyche to be communicated to the reader.  We must know them that intimately.

Jack presented the 3 Ms as a way to avoid writing flat, insipid characters:
1.    Motivation
What compels them? Does the story make it clear why?
2.    Motion
The way the character takes aim at whatever stands in her way.
3.    E/motion
Desire/Trouble/Redemption

Dorianne Laux on Writing

I’m reposting this from wherever I got it….  such an important reminder, and often, essential inspiration.  “I write to be done writing” resonates with me.

Why Do I Write

by Dorianne Laux

I have recently begun to think of writing as what Susan Sontag calls “a wisdom project” in her forward to Another Beauty, a collection of autobiographical essays by the great Polish poet Adam Zagajewski.

“…autobiography is an occasion to purge oneself of vanity, while advancing the project of self understanding—call it the wisdom project—which is never completed, however long the life.”

I am still hard at work on this project of the self. The solitary self, as well as the self in relation to the world and the unknown universe we swirl around in, uncertain of our purpose or future. When I wrote the poems that would become my first book, I didn’t think of it as a book, but rather as a need to understand the basic questions that all human beings ask: Who am I? Why am I here? Where am I going? What is beauty? Why is there suffering? Where is truth? These questions would arise in me in the form of poems, and in making the poems into a collection, I tried to arrange them in a shape, find a path for them to travel to make clearer those questions. I write to know the questions.

Poem after poem, book after book, the ante is upped. I think this could be why it takes so long between books. The poet is working harder each time to go deeper, farther, layering on or stripping away to find the exact color or texture, the core or the root, the frail light or the watery dark. I write to work things out. I write to concentrate, to feel a sense of purpose rise up in me. I enjoy the struggle of making a new object to present to the world, a gift made from scratch– whole, unique, edible as bread. And I want that gift to travel well, packed into an old boat on calm water or hidden inside a greased body diving into a blue pool, a sleek arrow that leaves a feathered silence and wonder in its wake. I like moving, word by word, toward a sense of discovery, toward an awareness of self– a curious, energetic, intelligent, sacred, baffling, depthful, heartful self. I work to find my subject, something I can sink my teeth into. I live for that flaring up of language, when the words actually carry me, envelope me, grip me. And all the above is why I read poetry, to hear the truth, spoken harshly or whispered into my ear, to see more clearly the world’s beauty and sadness, to be lifted up and torn down, to be remade, by language, to become larger, swollen with life.

I write to add my voice to the sum of voices, to be part of the choir. I write to be one sequin among the shimmering others, hanging by a thread from the evening gown of the world. I write to remember. I write to forget myself, to be so completely immersed in the will of the poem that when I look up from the page I can still smell the smoke from the house burning in my brain. I write to destroy the blank page, unravel the ink, use up what I’ve been given and give it away. I write to make the trees shiver at the sliver of sun slipping down the axe blade’s silver lip. I write to hurt myself again, to dip my fingertip into the encrusted pool of the wound. I write to become someone else, that better, smarter self that lives inside my dumbstruck twin. I write to invite the voices in, to watch the angel wrestle, to feel the devil gather on its haunches and rise. I write to hear myself breathing. I write to be doing something while I wait to be called to my appointment with death. I write to be done writing. I write because writing is fun.