I teach first year writing online for BYU-Idaho (where, by institutional requirement, I go by “Bro. Chadwick”). One of my main goals for the course is to instill in my students a sense of responsibility for the ways they use language. To that end, several semesters ago I started an ongoing screencasting project in which I record my musings over what Mormonism can teach us about responsible, sustainable language use. I’ve titled the project “On the Mormon Vision of Language.” Each week I share a new video with my students; so far, most of the vids have me exploring ideas from Restoration scriptures—the Book of Mormon and Pearl of Great Price, particularly, though I’ve also drawn from the Doctrine & Covenants and the Bible. more
Now, I enjoy public speaking. In fact, despite the nerves that churn my guts the hours before I speak, I love it. (Consummate performer Alex Caldiero once told me to embrace the nerves; they’ll make you a better performer. My dad—a skilled public speaker—used to say something similar.) My wife appreciates public speaking, too. So we gladly accepted the invitation and set to work preparing our sermons. Knowing that Mormon Arts Sunday (see also here) was on the horizon, I wanted to integrate some Mormon art into my remarks. I waffled around with several ideas the ten days after the bishop asked us to speak, but my thoughts didn’t congeal until a couple mornings before we would stand to speak. I woke up that morning with the idea that I should tap into the oratorical tradition of our forebears and, relying on the promise of preparation, weave a narrative as I stood before the congregation.
This, I thought, is the oral poet’s art.
Elsewhere, I’ve described this art in terms of what I call “poetry’s communal moments.” Here’s a rundown of what I mean: Epic poems, which narrate the heroic journeys and deeds of a protagonist whose life and character exemplify the values of the poem’s originating society, were traditionally composed orally before a live audience who had gathered to experience or to re-experience the hero’s adventures. (I say re-experience because many listeners would have been familiar with the legends and story cycles around which the poet wove his* particular narrative). Giving the event varying degrees of attention and receptivity and moving with the crowd vicariously through the hero’s adventures, listeners could participate with the poet in the story’s creation and elaboration. In the process, depending on how much attention listeners gave and how receptive they were, they could also likely feel the poet’s language deeply, viscerally, as his voice washed over the crowd and resounded with their flesh, exciting the passions and evoking the senses’ response. In these cultural circumstances, poetry and the process by which it was made were shared by the community and rooted in the connection among poets’ and listeners’ bodies. During poetry’s communal moments, which enacted the essential kinship between poets and listeners, both parties in the transaction may have had their individual and communal values and desires both validated and kept in check as, through the performance event, they mutually recognized and committed to emulate the hero’s strengths and learned how not to be via the hero’s shortcomings. In this way poetry traditionally functioned as a physically offered and physically received means by which community members might gain shared experience and might confirm and maintain individual and communal values and desires.
Relying on this art of oral composition—as practiced in early societies, as in early Mormonism—and on the communal promise it carries, I celebrated the process of language-making with our new ward and at the same time sought to raise awareness of responsible language use. I considered it a good way to recognize Mormon Arts Sunday. It may not have been an explicit recognition that, yes, we have awesome Mormon art and I may not have explicitly referenced Mormon artists (literary or otherwise); but my efforts were a recognition that latter-day scriptural narratives provide us with a unique vision of language and that the art of sermon-making among Mormons should be embraced as a means of weekly communion. At least that was my hope.
Since Mormon Arts Sunday is this weekend, I wanted to honor it with the celebration’s founding forum by sharing the audio file of my sermon, which I’ve titled “Words, Eternal Words.” Here it is (all 26:10 of it):
I welcome your response in the comments.
*I’m not being gender-insensitive with my pronoun use. Rather, the role of “epic poet” would have been filled by males.
Earlier this month, I presented some of my research on Alex Caldiero’s sonosophy at the AML Conference. After I posted my presentation proposal here, Scott also posted his, and Th. expressed his hope that we would record our papers “for the internet since that’s the only way nonattendees can be assured of hearing them later.” Th.’s request solidified my intention to record my presentation and post it online. So I packed my Samson Go Mic (love that thing!) and my laptop and sound-captured my presentation using Audacity (in case you were wondering). When I listened to the presentation later, I realized I had left some stuff out the day of and made a few additions to the audio to make up for my neglect; I also made some minor cuts where there was too much empty air or where I commented on how slow the classroom’s computer was (O, so slow!). Then I combined the audio with my Prezi, screen-captured the presentation using Open Broadcaster Software, and uploaded the file to YouTube.
I mention my post-conference presentation-revision process and the digital tools I used to create the video I’m sharing because I wanted to show one way in which those tools can potentially augment (and disrupt) the historical modes of critical discussion that are favored in the humanities (i.e., sustained arguments made in writing). In his introduction to the BYU student-produced anthology, Writing about Literature in the Digital Age, Gideon Burton argues that we ought to welcome such disruptions because they can awaken us to the “ongoing vitality of literature as ‘equipment for living’ in the digital age.” They can help us see and experience and share and discuss literature differently, opening the mode of literary conversations to something (potentially) more dynamic and engaging than a monograph published in a print journal with a necessarily limited base of subscribers.
My thoughts on the state of academic publishing aside, I was both excited and disheartened to learn at the AML Conference that next year’s meeting might be held in Hawaii. The move excites me because it’s an attempt to break the Jell-O Belt’s hold on the Association (and the Association’s favor for the Jell-O Belt), to move its focus beyond the continental U.S. I just hope the attempt doesn’t, Humpty Dumpty-like break the Association. Which leads me to why the move disheartens me: as I mentioned in the post where I shared my AML proposal, my wife and I look forward to our annual pilgrimage to the AML Conference; but with the conference in Hawaii next year, we can’t afford to attend. Chalk it up to student loans coming due, a pending move, a mortgage, four kids, and so on. Whatever the case, I’m sad I won’t be able to be there. Yet, our impending conference-nonattendance has had me thinking about alternatives to the time- and geography-bound conference, about ways to approximate or augment the knowledge- and community-building aspects of such conferences, to potentially include more people on the program and in the conference discussions, to move MoLit’s critical culture beyond the ways critics have traditionally made their work public. Sharing my conference presentation online (in video and audio formats) is a gesture toward those alternatives, which I hope to address more later.
Your thoughts on such alternatives and on the content and form of my presentation (which at ~43 minutes is, I know, fairly long) are welcome in the comments.
[Note: I've made no effort to select quotations from their term as Church president. The words quoted may have been spoken at any point during their life.]
By proving contraries, truth is made manifest.
Upon the stage of a theatre can be represented in character, evil and its consequences, good and its happy results and rewards; the weakness and the follies of man, the magnanimity of virtue and the greatness of truth. The stage can be made to aid the pulpit in impressing upon the minds of a community an enlightened sense of a virtuous life, also a proper horror of the enormity of sin and a just dread of its consequences. The path of sin with its thorns and pitfalls, its gins and snares can be revealed, and how to shun it. more
For those Latter-day Saints uninitiated in the intricate details of Mormon History, John Turner’s Brigham Young: Pioneer Prophet would be a complete shock to the system. Most Mormons are aware that Brigham Young was a man who many took offense to because of his frank talk, combative tongue, and indomitable will. However, many are less aware of how truly radical and assaulting he could be in his most extreme moments. Condoning and covering up (if not authorizing) moments of extreme violence. Deeply disturbing racial and gender prejudice. And his language! I’m not just talking “damns” and “hells” here… sensitive Mormons will be shocked to find a prophet of God using profanity, vulgarity, and racial slurs that they would wash their children’s mouths ten times over for using (and these were often speeches he gave in public! Or in letters that were meant for the President and Congress!).
Fortunately, I do know my Mormon History well enough not to have an honest and forthright biography like this shake the foundations of my belief system. I was familiar with the vast majority of the events and context of the history (and also knew enough to recognize moments when Turner was abridging information and knew which”side” he was taking in certain thorny historical debates). Having been the research assistant and co-writer on a play about the Utah War and the Mountain Meadows Massacre, not to mention the writer of a number of other Mormon History plays that included Brigham Young as a character, I had to get to know Brigham Young pretty intimately. My persistent interest in and study of Mormon History really does make it hard for people to surprise me (I love it when antagonistic anti-Mormons try to shock and rattle me with Mormon history facts and I can tell them, “I know. And did you also know that…”).
So that background helped me in the more disturbing episodes of the very informed journey that Turner brings his readers on. However, Turner, capitalizing on the new opportunities that the Church’s more freeing attitude about its history and archives have afforded, did bring me to depths even my amateur Mormon historian experiences hadn’t made me aware of. There were times that I had to stop, digest what I had read, and do an internal check on how it fit into my belief system (and if there was anything in that belief system I had to modify as a consequence). There were times that I was disturbed by what I had read and had to backtrack through my mind and heart and fortify my faith by connecting it to other just as real facts and context that were part of the fabric and tapestry of Mormon History. But those kind of facts can rub the soul raw after a while and leave you feeling sensitive.
NOTE: This was written for a final paper in my Dramatic Writing MFA Writer’s Workshop class where I was supposed to apply Anne Bogart’s book A Director Prepares to my own work. Thus the navel gazing…
In her book A Director Prepares, Anne Bogart addresses various challenging experiences theatre artists face in creating their art. In the book she confronts Memory, Violence, Eroticism, Terror, Stereotype, Embarrassment, and Resistance. Although she writes from a director’s perspective, I found them particularly helpful from a playwright/screenwriter’s point of view as well.
Having been both a director and a writer for the theater, I have found both creative processes put me in a similar place intellectually and emotionally (especially when I’ve been a director for my own work, it just seems to be a different step of the same process). Although I will write about how all of these qualities addressed by Bogart have affected my work in future posts, I would like to focus on each of them one at a time. So first on deck for this series of essays is…
In her book, Bogart states:
Theatre is about memory; it is an act of memory and description. There are plays and people and moments of history to revisit. Our cultural treasure trove is full to bursting. And the journeys will change us, make us better, bigger and more connected. We enjoy a rich, diverse and unique history and to celebrate it is to remember it. To remember it is to use it. To use it is to be true to who we are. A great deal of energy and imagination is demanded. And an interest in remembering and describing where we came from (p.39).
For me this statement from Bogart has resonance on so many levels. In my work, I’ve focused a great deal on historical drama, especially from my Mormon heritage. My intense interest in Mormon history has bled into a number of my works, reaching back as far as my high school juvenilia. more
The other day I came across an old mole-skin, black notebook my wife Anne had given me on my birthday when we were dating (including a poem which my friend Nate Drew put music to and which I sang to Anne after I asked her to marry me… a totally different story). Instantly knowing what it was, I reviewed it with fondness.
In its early pages are some overwrought and very loving poems I wrote for Anne. But after several pages nearly all the rest of the notebook is dedicated to things I wrote during mine and Anne’s honeymoon in Nauvoo. Those who know my play The Fading Flowing will also see my pre-occupation on David Hyrum Smith at this time, as I was in the midst of revising the play during that time.
After our wedding we went to Salt Lake City for our honeymoon for the weekend and saved up our major trip to Missouri and Illinois Mormon History sites a few months later in the late Spring. As I looked through the poems, quotes, notes, and drawings that I filled the notebook with, a gentle stirring came back to me. It was a beautiful time during mine and Anne’s early marriage and I wanted to share some of those pressed flowers of my life. This is a simpler time in my life, but a beautiful one.
Cramped Cold Creased–
Six men in a prison.
Saints not criminals
A prophet, not a traitor
Like their Ancient Master
afflicts their backs
and cools their lungs.
They’re fed afflicted flesh,
but they will not eat.
They wait for their Father’s feast
when, lifted from cramped dungeons,
they inherit kingdoms.
–May 3, 2005, Liberty Jail Missouri
Orson F. Whitney concludes his Home Literature sermon by invoking the blessings that literature has provided to mankind and urging his audience to create literature, not because it is how they should earn a living, but because that literature is needed. This week’s excerpt comes from the final portion of his sermon.
While some may take issue with Whitney’s description (below) of the benefits of literature and the press to mankind, in an overall sense—i.e., compared to NOT having literature or the press—he is clearly correct. our civilization, if we could then call it such, would be immensely poorer without literature.