Wish you were here.
Following Tyler’s lead, I’ve decided to post the proposal for my AML presentation, which will be an expansion of my DBD post on “The New Mormon Fiction” from a few months back. Glenn Gordon is accepting proposals for the conference until March 20th, so if you are interested in presenting, there is still time. Based on Tyler’s proposal, and other proposals I’ve heard about, it’s going to be a great conference.
See you there.
Mormonism has undergone significant changes over the last twenty years, leading sociologist Armand Mauss to declare that the LDS Church now has a different “feel” than it did in the 1980s and early 1990s. Among the changes has been greater transparency from the Mormon hierarchy on controversial subjects, an increase in open dialogue within Mormonism via the internet and social media, an apparent spike in faith crises, and the emergence of new sites of cultural tension.
What effect have these changes had on Mormon literature? In my presentation, I will argue that these conditions have contributed to what I call the New Mormon Fiction. Like earlier works of Mormon fiction, these works are “post-utopian” in the way they continue to reflect Mormonism’s desire to assimilate with its host cultures. However, unlike earlier examples of Mormon fiction, these works are essentially “post-faithful,” or largely unconcerned about fiction’s role as a vehicle for Mormon propaganda (of any stripe). Rather than bearing testimony, they seek to capture both the euphoria and anxiety of Mormonism in the information age.
My presentation will outline several trends that characterize the New Mormon Fiction. For instance, some works of the New Mormon Fiction are absurdist and darkly comical. Others are comprised of fictional documents, document fragments, and interviews that call into question what we know about history and narrative. Still others foreground conflicts between individuals and information rather than between individuals and the Church, its members, or the dominant culture. Collectively, my presentation will argue, these works comprise a new Mormon fiction that foregrounds acts of discovery and recovery, creative production, and paradigm subversion to disorient readers and force them to configure new realities, question long-held assumptions and notions of truth, and confront the challenges having “too much information.”
Each year, my wife and I look forward to making a pilgrimage to Orem, Utah to attend the annual Association for Mormon Letters Conference. I’ve also made it an annual practice to share my conference proposal once I’ve submitted it. In 2012, I proposed and presented “Situating Sonosophy: De/constructing Alex Caldiero’s ‘Poetarium’” and in 2013 I proposed “Performative Poesis and the (Un)Making of the World,” although my presentation was eventually titled “The Tongue as Tree of Life: Meditations on Words and the Word and the Making of the World.”
This year the conference, which will be held April 11-12 at UVU, is titled “New Faces of Mormonism: Are We Changing the Way We See Ourselves?” (*) Yesterday I submitted the following proposal, which is relevant to the Church’s recently released statement on what it means to become like God:
Alex Caldiero’s Performative Poesis: The Makar, Making, and Mormonism
Alex Caldiero’s work emerges from a rich performance ecology that consists of many different influences. One of these is the figure of the pre-modern bard, whom Caldiero calls a makar (mah-ker). Makar is the Middle English antecedent of maker, although makar is still active in the Scots language where it’s used in reference to a poet or bard [see here, especially]. Caldiero may have assumed the title in an attempt to establish kinship with a primitive (prime-itive) culture, its language, and its poetics. He may have also taken the name to skirt around the social and cultural limitations related to calling oneself a poet, including the stigma attached to practicing an art that some say is dead and that others associate with greeting card sentimentalism or the horrors of high school English. By moving to avoid these limitations (albeit at the cost of having to endure others [like being what Scott Carrier calls a "categorical conundrum"]), Caldiero becomes better able to critique common conceptions of poetry while he at the same time foregrounds the term’s origins: the word poetry derives from the Greek concept of poesis, which signifies the process of making.
Caldiero’s self-affiliation with Mormonism brings an additional level of signification to his focus on making. In particular, his poetics seem to be in conversation with Mormon theology’s teachings about Deity; these include the following:
My paper will explore the relationships among Caldiero’s performative poesis (which he calls sonosophy) and the figures/ideas I’ve described above: the makar (the pre-modern bard), poetry as the process of making, and Gods as Makers.
Note: James Goldberg asked me to post this information. It’s a very interesting agenda and a low-cost proposition in comparison to other, similar retreats. I highly recommend applying if you can make the travel costs and schedule work. –Wm
The Everdyday Mormon Writer Retreat/Master Class will take place at a cabin near Heber, Utah, on June 27-29. There is no charge for tuition and there is space for all participants to sleep in the cabin: the only costs will be travel to Salt Lake City or Utah Valley (we’ll carpool from there) and food (either purchasing your own or contributing to a group fund if you’d like to share meals).
The agenda will be as follows:
Carpools leave SLC and Utah Valley–travel to Heber and get settled
Discussion Session: Audience Baselines
What are the current obstacles between various extant audiences and Mormon Lit? We’ll discuss concerns/stereotypes readers have about Mormon Lit. We’ll talk about what else potential Mormon Lit readers are currently reading and what it gives them. And then we’ll talk about what roles Mormon literature might productively play for readers.
Class Session: The Parable of the Irritated Oyster
Most writing rises out of an underlying desire to reach people in some way. But often, writing instruction ignores the initial layers of processing between the itch to communicate and the concept for a work, focusing on the later stages from concept to publication.
In this session, we’ll generate some sample itches and then brainstorm ways a writer could develop a concept from each itch, trying to name costs and benefits of choices along the way. more
In July 1915—nearly one hundred years ago—Nephi Anderson traveled to San Francisco to attend meetings at the International Congress of Genealogy held in connection with the Pan-American and Pacific International Exposition. While there, he also attended the exposition’s Utah Day celebration and spent three days seeing the sights. Overall, he writes in his journal, he “had a splendid time.”
He was back in San Francisco five years later, vacationing and conducting some Church business. He stayed at mission headquarters on Hayes Street, where he had Thanksgiving dinner, and attended meetings in Berkeley and Oakland.
The house where Anderson stayed during this second visit (1649 Hayes Street) still stands, although it is now the Emmanuel Church of God in Christ rather than an LDS mission headquarters. I had the opportunity to drive past it last weekend when I was in San Francisco to talk about Anderson at the annual meeting for the Society for the Advancement of Scandinavian Studies. It’s in a busy neighborhood just north of Golden Gate Park, so I couldn’t find a place to park nearby. I was able to snap two pictures of it, though, before San Francisco’s traffic nudged me along.
In many ways, Anderson’s history with San Francisco is unremarkable. He was never more than a temporary resident of the city—a vacationer, a passer-through—and what he saw and thought of the city is mostly a matter of conjecture. (As a journal and letter writer, Anderson was an ardent minimalist!) Still, when Sarah Reed, Eric Jepson, and I met last Saturday at the SASS meeting to present papers on his life and work, the fact that he had been to the city and left a brief record of his visit seemed to add to the occasion. As Theric pointed out in his presentation, Anderson’s visits to the city remind us that he was not a provincial writer, holed up behind the mountains of Utah and indifferent to the world beyond Mormonism, but a man who traveled throughout the United States and Europe and became well-acquainted with the important issues and ideas of his day. In fact, it was from this perspective—Anderson as a man of his times—that each of us seemed to approach his work.
As I mentioned in my last post, I was a presenter this year at the annual Mormon Scholars in the Humanities Conference in Provo, Utah. My talk, “The Role of the Novel in Post-Utopian Mormonism,” was scheduled first thing in the morning on the first day of the conference, but it had a decent turnout—despite the room temperature being at near-sauna levels. The other presentations on the panel, which was chaired by Bruce Jorgensen, were David Paxman’s “The Plan of Salvation: Why the Angels Rebelled” and Benjamin Crosby’s “Canonical Kairos: Demystifying the Conditions for Creation of Mormon Scripture.” Both were excellent, and we had an hour-long (or nearly hour-long) discussion following the three presentations. In many ways, I think Ben’s presentation, which drew on Covino’s distinction between generative and arresting magic-rhetoric to talk about the ways discourse works within the Church and on its member, provided a good foundation of ideas to guide the discussion.
I submitted two proposals for this year’s AML Conference, both poetry-centered, of course. Here they are:
Proposal 1: Live Poetry Anthology: Mormon Poets Read (Two full sessions)
Based on the success of the two poetry reading panels I organized for last year’s AML Conference, I approached my poet friends to see if there was any interest in organizing more readings for this year’s conference. I have around twenty poets* who said, “Heck, yeah! We’d love to read at AML in 2013.” So this proposal is for two (2) sessions (preferably back-to-back sessions) filled with poetry read by a range of Mormon poets. Each session would include approximately ten poets reading for around five to six minutes each. Michael Hicks has called this event format “a live poetry anthology” because it allows space for many poets to voice their poems and shows how the community of poets so involved is a living community whose canon of texts is constantly expanding.
*As of right now, my list of definites includes the following: Alan Mitchell, Alex Caldiero, Amber Ellis, Brian Brown, Doug Talley, Elaine Craig, Elizabeth Pinborough, Jim Richards, Jonathon Penny, Laura Baxter, Laura Stott, Lisa Fillerup, Mark Bennion, Michael Hicks, N. Colwell Snell, Rachel Noorda, Sarah Duffy, Sarah Jenkins, Susan Howe, and Terresa Wellborn.
Proposal 2: Performative Poesis and the (Un)Making of the World
In the days following the tragedy at Sandy Hook Elementary in Connecticut, I came across or remembered several texts that were composed in response to this event and to other violent events in contemporary America, including 9/11 and the 2007 Virginia Tech shooting. The first text I encountered was an article published by The Onion, satirical online news rag, the day of the Sandy Hook shooting. The article, “F*** Everything, Nation Reports,” is short—it comes in at only 456 words. But as the title suggests, its language is potent: of the many profanities included, 16 are the f-word. The second text was a poem called “In the Loop” by Bob Hicok, who explores with the poem a response many people had to the Virginia Tech shooting: to say “how horrible it was, how little / there was to say about how horrible it was.” The third was Alex Caldiero’s “Poetry is Wanted Here!,” a poem dedicated to his friend “Bob Heman, in New York, Oct. 2001 re. 9/11.” And the fourth was a poem by Shane Koyczan: “People are Getting Better.” Unlike the other three texts, Koyczan’s poem isn’t a response to a specific event; but it does reference “kids who turned their school into a shooting range,” kids who “play Russian Roulette with guns . . . they found on their playground,” and “airlines [that] plummet from the skies.”
Beyond similarities in subject matter—all reference violent events that have received national, even global, attention—the one thing that connects these texts in my mind is the way each shows how four very different writers turned to words in response to violence as a way to mediate the ongoing effects of violence. These movements toward language in the face of destruction jibe with the understanding I’ve developed as a Latter-day Saint that words are an act of faith and have a profound, creative influence on the world. As noted in the Lectures on Faith, faith works by words; indeed, faith’s mightiest works have been and will be performed with words. These works, of course, include God’s eternal performance as World-Maker (his poesis), which proceeds through his Word, who is Christ. Through personal and scholarly reflections on the texts cited above, this paper explores my LDS-informed view of words and the Word, especially in terms of how we mirror the World-Makers’ creative performance in our own word-making.
(Also posted here.)
Back in April, I presented some of my recent research on Alex Caldiero’s performance poetics at the annual conference for the Association for Mormon Letters. Since then I’ve been thick in the middle of preparing for, then taking (and passing!), my comprehensive exams for my doctoral degree. Now it’s time to dig into that dissertation, which is on Alex’s work. The presentation I gave at the AML Conference, of which this post is an extension, is a result of my dissertating. It seeks to represent the performance ecology out of which Alex’s poetics has grown and to which it responds.
In order to get the most out of what follows, it’s probably best to view my Prezi presentation in conjunction with my commentary (maybe you can split the screen, with my comments in one window and the Prezi in another? I leave the logistics to you…). I’ve tried to make this as simple as possible by correlating my comments to each stop you’ll make as you move through the Prezi. And after you’ve made your way through it, I hope you’ll leave your comments on my ideas, which are, as all poetics, in process.
With that in mind, here goes: