Former Student Describes Reuben Jackson’s Jazz-infused Poetry Class
“I’m going to play you some John Coltrane,” he said, his voice serious, soft-spoken. “Some people say Coltrane sounds like a bunch of salad,” he continued, “but it’s all in the way he mixes it.” He pressed “PLAY” and told us to write what came to mind.
Miles Liss, who recently graduated with an MFA in poetry from Vermont College of Fine Arts, reflects on his time taking classes under maestro Reuben Jackson in this short essay. You can read the whole thing on Past-Ten here. Read Reuben's poetry here.
In the essay, Liss describes Reuben's unorthodox approach to teaching poetry, specifically his focus on extemporaneous writing in a similar vein to the off-the-cuff soloing and improvisation of jazz musicians. Below is an excerpt:
“I’m going to play you some John Coltrane,” he said, his voice serious, soft-spoken. “Some people say Coltrane sounds like a bunch of salad,” he continued, “but it’s all in the way he mixes it.” He pressed “PLAY” and told us to write what came to mind. Like a silent Miles Davis exiting the stage to give his fellow musicians an opportunity for expression, our instructor left the room.
As Coltrane played, I pressed my pencil against notebook paper and started writing. The words came out in a rush, in rhythms I had already possessed. It felt natural, in a way fiction never did. There was no agonizing over characters, plot charts and index cards. It was pure emotion.
We went around the room, reading our poems. I had two short pieces, riffs on cityscapes, and though I was nervous, I read them aloud. When I looked up, he was watching me, deep in thought and leaning back in his chair. He said nothing. Weeks later, he’d verbalize his praise, but for the time being, the silence spoke. As Miles Davis knew so well, the real music was in the silence.
Earth Day Reflections: To See for the First Time
“Our communications are profuse and immediate, as is our consciousness of the interrelationship of all that exists. We’ve seen what we often leave in our wake—homeless populations, spoiled wilderness. We can see the way the decisions and investments that we make, here, everyday, can effect just how much milk a baby in Uganda gets. Our world is a teeming, mysterious, multi-cultural mousetrap of a place where everything seems to hinge on something else. We share a new concept of this planet as a finite space, dense, and more difficult than ever to navigate. We live in an environment fraught with hazard, and it is important to have good guides, guides with insight—those who tread softly.”
Joanna Biggar’s Picks for NPM (Week 3)
Week three of National Poetry Month is here and we are still celebrating! So as the champagne continues relentlessly foaming for party-goers catching their tipsy mid-air, we asked author, Joanna Biggar, to select three poems she thinks are worthy of applause between wassails.
James J. Patterson’s Picks for NPM (week 2)
In honor of National Poetry Month, We asked author and essayist extraordinaire, James J. Patterson, to select three poems he’d like to see celebrated. Along with Walt Whitman’s “On the Beach at Night Alone” (featured above), he chose Wordsworth’s “The World is too much with Us”, And Last but not least, the famed American Poet Robert Bly performing the poem “On Being a Man” by the famed Spanish poet, Antonio Machado.