Contributors' page – admin stuff

Dear Everybody

I've tidied up the 'Contributors' page at 366 to make it look better – or so I fondly believe.

Please check your entries to make sure that all the links are still correct and I haven't inadvertently omitted any vital information. Let me know if there are any changes I need to make.

And in future, if you have any glitches in your posts that you find yourselves unable to fix, please contact me at rosemary dot lifemagic at gmail dot com (of course with the dots and at not spelt out).


Dear Kit

Did you mean to put the link to the metablog in the list of Pages because you thought it fitted there better? Or would you like me to shift it to the links list?

Reflections on writing daily and writing in groups.

Background

When the Poets Union began in Melbourne, I stopped being a solitary writer – except for the obvious fact that we all confront the page individually – and became a poet who flourishes in, and even seeks groups. It wasn't particularly thought out; in fact for such an introvert it's surprising - but I look back and see how the Union led to workshops, readings, conferences, collaborations in both writing and performance.... Eventually I found myself teaching in Professional Writing courses, and before I decamped to Northern NSW had formed a private support group with Jennie Fraine and Leah Kaminsky, which we managed to keep going for decades, even when we all lived in different countries for some years. It involved writing together, even when 'together' meant being in different locations and sharing the results by email.

Then came a 7-year stint facilitating a writers' group at a local Neighbourhood Centre. And contacts I made on a visit o/s saw me joining MySpace to listen to a friend's music and finding it full of poets from all over the world, who were delighted to find each other. Later we all ended up on Facebook. Someone taught me, long-distance, how to use Blogger, too. And I found online communities of blogging poets, three of which I now participate in regularly, and for one of which I'm now on staff. Online contacts led to collaborative anthologies – some published, some still in the pipeline – with other poets (some knowing each other personally, others online only but nevertheless forming strong connections). And most recently I was simultaneously invited into Project 366 and a private online workshop group with some women I have come to know well, albeit only online, delving into our psyches in depth via a study of archetypes, and expressing it all in poetry. 

And that's the condensed version!

The 366 experience

All that preamble was by way of indicating that writing frequently, and with others, is not new to me. I guess it also indicates that I have no objection to writing often, even daily. I don't always write daily, but it's usually several days a week at least; and there are some months of the year – such as this month – when I respond to invitations from various sources, to create a poem a day. My poems get posted to one of my blogs, and shared with the members of the groups they're written for, when that applies (and on Facebook, and tweeted). Most often, but not always, they are written to prompts, or as exercises. In the groups, reading and commenting on other people's work is expected. Encouragement is preferred to in-depth critiques, unless people specifically request that. (I do also belong to a small, secret fb group created for in-depth workshopping. Oh, and I'm in some other fb poetry groups too, but they are more easy-going.)

I enjoy all those activities, but have found Project 366 particularly delightful, and different from the others in some obvious ways, and some intangible ways I'm still trying to put my finger on. So for me the thing to reflect on is what makes this particular experience so valuable to me? 

The freedom to post drafts is part of it. Things I write and blog for other groups are clearly drafts too, theoretically anyway, when first posted. (And I do go back and tinker.) But they tend to be responded to as finished works. I guess that sort of happens at 366 too, but there is a higher awareness of the fact that these are first drafts. It takes the pressure off. I don't know if that's a good thing! It just is. (And – not a new thought, of course – there can be a freshness about first drafts which is lost in later revisions.) 

Someone mentioned, in the posts I read here earlier today, other groups where people take themselves very seriously. I love that Project 366 people don't, in that self-important way, though we do take the work seriously – perhaps more so than those others. And the work is terrific! Reading other people's contributions is at least half the fun. The threads that sometimes arise add to the pleasure. I think these things can happen more easily in a smallish group like this, posting to the same blog, than in wider online communities of dozens or even hundreds posting links to their own blogs.

It's time-consuming, for sure, and it's probably insanity for me to volunteer further involvement, particularly as I don't plan to drop anything else I'm doing – but life is short, and I live for these pleasures. I'd be cross-posting sometimes, of course, as I did in June, with things I write for other groups. But that didn't seem to be a problem. In fact, I was fascinated to note that writing more often had more unprompted poems arise, and more poems altogether (even more than one a day). Logically one might expect the opposite effect – but what's logical about art?

I suppose it's worth noting that I'm not greatly attached to print publication any more. It's lovely when I get invited to submit to something, and then I certainly do, but I'm not very actively seeking it these days. I usually give competitions a miss, too. I've embraced the online poetry world; and not bothering with all that other stuff is one kind of time-saving for me. In saying this, I'm thinking about the poets Kit mentioned, to whom the idea of 366 was anathema. Maybe they have a different attitude to airing their drafts publicly. I've become at least as interested in process as result. So I am thinking that is probably what the Project might have to offer the world – the chance to see our collective process at work. (Sorry if I'm stating the obvious. Just kinda thinking aloud onto the paper here – I mean screen.)

As a reader/viewer, I like the experimental nature of some 366 posts, too. And, as I've noted elsewhere, the way that some works unfold over time. And the translations, whether from one person or two. All of which have to do with process.

What would happen if it was weekly? Would we lose spontaneity? Would we get precious? Would we keep the same level of communication? Would we actually have more communication if there was more time for it? I suppose there's only one way to find out.

Inviting some people for a month only, theoretically only four poems (though more would be possible) seems a bit unsatisfactory in that context. A Project 52 would appear to be a lot easier time-wise (unless other things get built in, such as mentoring) but I wonder if I'd like it better. My time in 366 felt like play, and like dancing.

about daily practice

It wouldn't have occurred to me to do a poem a day if Kit hadn't initiated it. I wouldn't have thought it was possible but when you get into it, it becomes entirely doable, so long as other things don't interrupt too much. You need time and space to think and write, so sometimes that doesn't happen. For that to happen, it has to be possible in your lifestyle and with your loved ones. So that's where it might be unusual, not that it's not possible mentally and creatively, but getting it to fit into your life.

The funny thing about it though is that it does become a desirable thing to do. Also reading other poems on the blog is attractive. You can get impetus from other people when you might not have had a completely independent idea to start with.

Another thing that's unique about this process is the interaction with other writers and the way connections occur, the way you find parallels and stimuli in other people's work, the way you respond, the way they respond. That is pretty unusual. I have been part of writers' groups in the past and found that they had a similarly contextualising effect. It's really important to have an audience of some kind and a small audience of sympathetic people is really helpful. If you don't have access to an audience, your work remains personal. That's how we were thinking in 1978 when we set up the first women writers' workshop (No Regrets) associated with The Poets Union, NSW branch - women were not coming forward and calling themselves public writers as much as men. They didn't have the opportunity to externalise their works and that has a deep effect on your work and your production. That's why we set up the workshop, so people could come out as writers in a supportive atmosphere. I'd been to workshops or writer gatherings previously that were very harsh and judgemental, the kind of things that could turn you off writing or showing your writing. There are lots of people writing out there who are turned away by gatekeepers of various types. It's been good with this group that none of the 'expert' persons have been appraising or ranking anyone. That can be so off-putting, and I think it's immature as well. A decent writing community is accepting and fertile.

Kit Kelen proposes a meditation on daily practice

a meditation on daily practice

Dear all,

As per the poem I've just posted to the blog today, I'd like to suggest what one might call 'a group meditation' on the idea of daily practice (or, in our case, perhaps I should say daily public practice). What does it mean to show our working like this to the world? What does it mean to the world? And what does it mean to us? I know from my discussions with poets and artists who haven't wanted to join us, that something like 366 is anathema to many who consider themselves – and who take themselves seriously – as poets and/or artists. So if you'll indulge me in turning the question upside down – what does it mean to be an artist or poet and not do it every day/not show it to the world every day? Is there something extreme about what we're doing? Is there a politics of this? A psychology/sociology? Were we just born this way? What are we about?

Sarah St Vincent Welch - recording a recent experience in Project 366

I am unable to do the questions for a couple more weeks. My mind is in many places at the moment, and a crucial paid work time (small pay!) but hey it's something. I know I can't squeeze my mind into that answering question mode. I have to do it too many other places at the moment. (But I will). I am very interested in where the poems come from for want of a better way to say it. And the interaction between them and the creative processes behind them and what happens next with other people' work and reactions. And for me the already existing threads we have picked up, or lose, I felt it from day one, or even from the moment it was suggested to me, and I think it became more present because I was aware of them daily, and I wanted to record them like Marion Milner, (of 'A Life of One's Own') but that is a vast task in itself beyond my present circumstances. So I am just going to record what happened so far with a little poem (and there are many example like this for me and others) because I have become aware that earlier remarks (even if small supportive and casual) that contribute to the conversation disappear from the blog (the comments I mean) after a while. I had a look for some early ones in January tracing back the journey and realised the comments were gone or I can no longer see them.

'midnight near

biting at my shoulder

a whisper an angle a flutter

I could see that it might work, but

shouting shouting fists at my window

heart hot heart writhes the whisper stopped

a poem scared away a song swallowed in fear

Rob S Oh Sarah, that's a song. Beautiful

Janette H Biting at my shoulder... I feel the bite some nights too when I'm trying to force the poetry to not take time away from my children.

Susan H What an extraordinary piece of writing.

Efi H absolutely stunning

Myron L Good shape and sad phrases

Robbie V a poem about being unable to write a poem due to terror — a triumph

Anna C Reminds me of Heathcliff in Wuthering Heights

Chelate mm... Cathy's wrist on the window pane


Anna C yes, getting cut on the glass

Sarah StVW Wow! Thanks everyone. A poem written in absolute desperation. Wuthering Heights and that scene at the beginning is one of the great passages in literature for me, I feel it part of me, but I didn't have it in mind when this emerged, so that is interesting. I had the feeling of a poem emerging the threads the wanderings the voice emerging in my mind and then I had some very bad energy from the outside world come to me at about 11pm, (email communication) which is really becoming deadline time for this project, and it killed what was happening in my mind, my heart was racing I was scared about what was communicated, that it would also rob me of the post a day which I have so far achieved, and I just resorted to writing about that experience. Thanks! I am so glad you felt it worked. And I had taken that quirky picture in the Blue Mountains very recently on a walk with Jane Skelton and I was wondering if I could use it for anything.'

All of that I really valuable and interesting feedback for me. It give me some feel for possible responses.

So I won't do this often, probably not again, but it is a little record for me. I was way surprised people thought this poem ok. I am not into the 'intentional fallacy', but it is magical, where thing come from, how they are received, what happen next. Anna has written one picking up the 'Wuthering Heights' connection she made. 'Small arms'.


I look to your poems, images, how I am feeling, what I have noticed or been thinking about, to seek poems. And then they are something else again.




Carol Archer comments on 366

     1.    Why were you interested in joining Project 366, and how did you see it relating to your art practice before you got involved? 

The initial impetus to join 366, as a guest participant (ie for a month), was mostly to do with my own practice –  I knew that the goal of finishing and posting draft drawings/paintings on a daily basis would be motivating and satisfying.

      2.    How does working with other people affect your art practice/ process? Does it also affect / change your style of working? In what way?

I find it exciting, inspiring and encouraging to participate in artistic collaborations and communities
 

3. Has Project 366 been a good way for you to be with others in an art practice community? Does it feel like a community to you? Why?/Why not? How?/How not?

Yes. It does feel like a community – I love the way that people have referenced and responded to each others’ work. It’s lovely to see the evidence that there’s a group of us engaging in creative processes on a daily basis, and to be able to get a glimpse of that through the site. It’s great to get feedback from other members of the group.

 
4. Do you see 366 as a dialogue? If so, in what way? Can you see ways in which it could be more of a dialogue or a better dialogue?

It’s easy to let someone know in a short comment that you enjoyed or liked their work, though for me there is far too much to look at online every day to do this in any consistent or even-handed way. More importantly, participants have responded to/riffed on/referenced others’ work, and then there are unintended dialogues that have to do with current events, the zeitgeist, synchronicity. This is fascinating and inspiring.

5. Has working on daily artmaking through Project 366 affected your work or the way you work? If so, how?

Knowing one will post work daily encourages one to do at least some work-in-draft each day that is ‘do-able in a day’ and ‘presentable’. There are other kinds of draft that are also of value in a creative process. But doing some of the former type on a daily basis is a good discipline, encourages productivity and is good for self esteem.

6. Do you think others in the project have influenced you / affected your ways of working or your subject matter?

Yes, I’m sure the feedback I received had effects on my treatment of my subject.

7. How have you found the cultural diversity in the project so far? Has this had any effect on you?  Do you think things could be different / better in this regard?
 

It’s great that the project involves different languages and cultures and locations. It’s resulted in a diverse and inspiring range of approaches and voices. 

8. Do you think there's what you could call a learning process going on through the project? If so, could you describe that?

Maintaining the discipline of contributing a work a day for a year – or a month – is a learning process in itself. Being part of this very particular kind of online creative community also entails learning I would think. And then I’d imagine there’s learning that takes place through increased exposure to the work of one’s peers, as well as through the various dialogues (like this one) that take place on the site.

9. How do you see your role in the group?

I see my role as a happy small potato in this group - who is grateful for the efforts that others have made to make this wonderful project go - and this suits me as I’ve had a central role in various collaborative drawing projects over the past decade (Reciprocal interference, Macao-Elsewhere, Elsewhere, Postcards between Friends).

And in answer to the remaining questions...

I see the project continuing in much the same way for the rest of the year. What happens next year is more a question for those who are participating on a daily basis and those who are now, or who would be, doing the work connected with the project. But I do think creative communities like this one, focused on participants' creative work (rather than commentary), are tremendously valuable, especially when the arts are so marginalised/star system-focused etc in our wider communities.

About the indexing of an anthology publication

Kerri Shying had some interesting stuff to say about indexing a possible anthology on the other operational dialogue. She suggested that by indexing, the threads that have occurred naturally in the writing in the project could be identified and accessed via an index. She and others she's in contact with have the skills to create an index when the time comes.

We talked about the possibility of creating thematic sections in an anthology too. I personally don't like that, find it reductive.