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Guest Posts, Yoga

Tracing the Thread of Sanskrit in Yoga Practice

September 13, 2020
sanskrit

By Donna Vatnick

We sit in a circle, legs crossed, each of us nearly grazing one another’s knees. The heating vent hums. Light comes soft and yellow from the high ceiling. The view from the glass door in the corner of the room tells us the sun has already set- it is after 6 pm. On the first day of 200-hour yoga teacher training, we are strangers who sit together, searching for something we can’t name. There is a shuffling of limbs and papers as our teacher encourages us to open to the first page of Patanjali’s book of sutras. Together, we are to recite the first sutra in Sanskrit: atha yoga anushasanam. We will recite it six times together. I close my eyes. Immediately, my mind leaps into action.

First comes the judgment.

Isn’t it pretentious and appropriative say these words with such weight when we don’t know what they mean? Why is everyone going along with this? Why is my mouth moving if I don’t prescribe to this?

Second comes the doubt.

But, do I actually prescribe to this? Maybe I’m not pronouncing anything right. Why can’t I remember the words without being prompted repeatedly? Maybe this was all a mistake and I should run out of here and go back to saying “thank you” to my Judeo G-d after my 6:30 am stretches. Leave it at that. Does anyone else feel this way?

I open my eyes and search for anyone’s gaze to meet mine across the room, but everyone seems fixed and concentrating.

Then, rolls the anger in.

How dare the western market implement this traditional healing practice in an expensive as f*ck yoga teacher training. How dare I, as a Russian-Jewish white person with no background in any other tradition, trust this training to equip me to teach something so outside my scope of understanding?

 I’ll bet the wooden floor I’m sitting on was stolen from unconsenting forests and here I am training to be a yoga teacher to encourage unity.

 Here I am, on the edge of a self-care industry which profits from our anxiety, encourages us to spend our savings in order to feel any semblance of embryonic peace. Is it my learned individualism that throws me into “taking care” of my buzzing gut? Why is this spiritual practice treated as a commodity?

Anger spirals until it reaches down to the pit of disappointment.

Just relax for a second and say the words! Why can’t I just accept this Sanskrit phrase and sink into it? Is this is all wrong?

 At the end of the sixth repetition, the room falls silent. A feeling of awe and surprise washes over me.

This clean room in Boston reverberates with the rich, ancient tongue that lives here too, far from her roots in India (or so I assume). The emotions quiet and I listen to thirty-eight people breathing with bodies full of stories and a city ambulance roaring in the distance.

Atha yoga anushasanam.

In other words: Here, now, the practice of yoga begins.

To investigate the here and now of this five minute brain overdrive, I have no choice but to examine the legacy of Sanskrit as the language of modern yoga.

As a continuing student, how do I start to understand the dissonance I felt during the beginning of the sutra recitation?

As a fledgling yoga teacher, what role will Sanskrit play in my public classes?

Is integrating Sanskrit into modern yoga essential? Does it help preserve the evolutionary roots as respect for the practice? Does it exoticize the practice to appeal more to the western masses?

The word “Yoga” itself comes from Sanskrit meaning, to “yoke”, to create unity. One could interpret this practice as a way to unify the body, mind, and spirit. It also encompasses unity and connection with others: our teacher, community, the hum of the world.

What if  the essence of the word could mean something deeper too: unifying yoga’s origins with its evolution.

It means being aware of the threads that connect all of us through space and time.

The thread of Sanskrit is most likely very alive in your own native tongue.

Estimated to be 3,500 years old and sharing roots with the majority of modern languages in Europe, Sanskrit is categorized as an “Indo-European” language. There are 3.2 billion native speakers of Indo-European languages on every inhabited continent in the world today.

Before having a written alphabet, Vedic Sanskrit lived as an oral tongue passed on through memorization. One of the first records of transfer to written language was in 1500 BCE when priests and scholars of Hinduism decided to preserve hymns and poems. They compiled the oral traditions of “The Vedas”, which translates to “the knowledge”.

From there, evolution and mutation ran its course, expanding written Sanskrit from the priest class to the masses in India as power dynamics and literacy between classes shifted. Thousands of philosophical and religious Hindu texts were written and communicated in Sanskrit, as well as Buddhist and Jainist ones.

Today, Sanskrit is considered by some to be a “dead language”, like Latin. It declined in its abundance around the 13th century when Hindu kingdoms began to disintegrate due to invasions from other rulers, and the hubs of Hindu literature perished.

But Sanskrit is very much alive in other ways.

It breathes in ample philosophical texts, religious ceremonies, hymns, songs, scholarly circles, literature, and, of course, modern yoga.

To trace the thread of modern yoga practice is a winding task. The evolution of Sanskrit in yoga is just as nebulous and mysterious.

One could, with a variety of resources, trace yoga back to sitting meditation in Patanjali’s day. One could also associate it with the Hindu religion and mysticism. One could relate it to Dutch gymnastics and products of British imperialism in India.

One could also credit yoga to Krishnamacharya, “the father of modern yoga”, who brought scholarly knowledge of Sanskrit into his teachings in India in the early 1900s.

Pattabi Jois (1948) or Iyengar (1966), the men who systematized the yoga postures many people practice today, followed in Krishnamacharya’s footsteps.

One could argue yoga is exercise or lifestyle or philosophy. One could even say that yoga is practicing focus of the mind, in any way, shape, or form.

One could say it is undefinable.

No matter which lens you use, this is certain: modern yoga is a union of countless movements in history.

Expanding all over the world, yoga has become, at its core, universal, with all its mutations of lineage, language, and interpretation. My Russian-speaking sister who practices yoga in Moscow knows corpse pose as “śavāsana”; my Spanish-speaking training classmate from Mexico knows mountain pose as “tadasana”. These terms can serve as references that unite people across otherwise existing barriers.

If it’s so universal, why does reciting Patanjali feel so dissonant to me?

On many levels, Sanskrit still feels coded and unfamiliar.

There is a presence of deep wounding, of imperialism and consumerism and ignorance.

But there is also the presence of deep time, of history moving through our mouths, of collective sound and echo – the most elemental thread.

The yoga, the “yoking”, exists in both noticing the unity and picking apart its details.

Sanskrit serves as a reminder that we have a lot to learn. The mystery of movement, evolution, and origin is bountiful.

Patanjali’s first sutra invites us to not only “be here, now”, but also to examine what the “here” and “now” consist of.

Here and now is not an isolated event. It is the woven fabric of limitless threads.

Here and now, we breathe recycled air from billions of organisms, we build our homes on billion-year-old fossils and moving rock.

We stand on the shoulders of written and forgotten history;

We inherit language and wisdom that is so fluid, so integrated into the mundane, that most of the time we can’t even distinguish the pattern.

In comparison to the vast “here and now”, we are all beginners.

Donna Vatnick is an explorer of relationships and our inner universes. She writes pieces about intimacy, loneliness, and vulnerability. Donna also love to paint, write music with her bands “Otter” and “Strawberry Machine,” and feel the wind. 

Anti-racist resources, because silence is not an option.

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Guest Posts, Yoga, Young Voices

My Practice

February 18, 2020
practice

By Shelby Palmeri

I can’t physically hold onto it, but it has made a profound impact. I don’t think about it often in the day-to-day, but looking back over the years, it has always been there, my constant.

How did all these years pass by?

Did I ever really choose this or did it choose me?

I lay my dingy outdoor yoga mat down in my big backyard. I’m reminded of my first few months of practicing. Limited by space in the deplorable frat boy style living arrangements of the boyfriend I stayed with nearly every night, I had to seek the solace of their big (dirty) backyard.

Avoiding broken glass, and scattered folding chairs, not bothered by a roommate’s skittish purebred beast of a dog I wanted desperately to befriend, I’d set up in the tall grass.

Yes now I have an outdoor mat, two extra mats just in case, and of course my expensive and on brand everyday mat, the one that lives in my passenger seat or on the floor of my sunroom. Back then, I just had one mat- my first mat, a bright pink thin thing I rescued from a closet in my parent’s house, bought then quickly forgotten.

I’d take it to the flattest spots I could find, hiding myself from the view of any of the rambunctious tenants of that rented residence. I’d practice the little bit I had picked up from YouTube and Google. Child’s pose was nice and easy, throw in a cat, cow or two. It was in these sessions when I realized how far I had to go, realized how much effort it took just to sit in a cross legged position for minutes at a time.

When looking back on what drew me to yoga, it is kind of funny to admit. At that time in my life, somewhere around 19, I was discovering how much I liked getting high, and I was exploring a variety of ways to do so. I remember thinking that maybe yoga would provide me some sort of transcendental experience. Maybe, it’d get me some sort of high.

The more spirituality books I read, the more I became a little obsessed with this idea of enlightenment. It was a totally new concept and one I wanted to conquer. I thought downdog and the Bhagavad Gita would give me the tools I needed to transcend my reality. I would have an edge. I’d go somewhere I couldn’t come back from. I’d be a yogi master, a guru, all-knowing and always Zen.

As the months went by, I kept practicing. My motivations fluctuated. This new connection to my body turned me onto fitness. My obsession became core work and planking. I discovered avocado toast and calorie trackers. I thought little about my spiritual journey and more about my six-pack. I took lots of bad-form yoga selfies, admired how my butt looked in tight leggings.

I kept practicing.

Nearly two years into this relationship with yoga, I had a pretty solid routine. That same boyfriend and I were now living in a spacious apartment, with floor to ceiling windows in the living room that I fell in love with the moment I walked in the door. It was in front of those windows, that I’d lay my mat down every morning, trading plush carpet for the rocky un-mowed lawn of my previous practice space.

By this time, I had all the classic yoga texts, expensive mala beads I never used, and a couple of props and Aztec blankets. I kept them all stacked together near the windowsill along with my succulents and occasionally my slinky cat. I loved my little yoga space.

One morning, I woke up to practice. I spent about twenty minutes moving by body then rested it on the floor. I lay in corpse pose as the sun filtered through the blinds, casting shadows and warming my face.

A few hours later, as I sat on the couch in that same living space, the sun casting shadows on the wall, my boyfriend killed himself in our bedroom.

I, traumatized and grieving, kept practicing.

I forgot about enlightenment. I forgot yoga body. My motivation became healing. My mat caught all my tears; my journal caught my frustrations. I spent hours and hours on the floor in meditation, hoping that maybe I’d be able to feel him. I read more books. I looked for signs. I explored the metaphysical. I survived the unthinkable.

And, I kept practicing.

Years have passed since that day, as have many milestones. I graduated college, moved away from home, fell in love again, went through teacher training. Through it all, my mat has been underneath me. I unroll it in happiness and in times of struggle. I’ve unrolled it on sandy beaches, rock ledges, and countless studio floors. I’ve unrolled it by trickling rivers, near bubbling hot springs, and in airport terminals.

Over the years, I’ve had to wonder if it is the exercise, the healing or the distant and mysterious possibility of enlightenment that brings me back? Maybe it’s all three, and maybe it’s a whole lot more.

As I lay my outdoor mat down on this warm and sunny summer day, the dirt smells the same as it did so many summers ago in that distant backyard that was much less mine than this one. The wind ruffling the trees sounds the same, and extended child’s pose is just as soothing.

I think about all the things that have changed in my life in such a short time. And I think about all that’s stayed the same.

I keep practicing.

practice

Shelby Palmeri is a registered yoga teacher living in Colorado, trying to chase the dream of teaching yoga and writing. She enjoy mountains, music, and craft beer.

 

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Guest Posts, Family, Yoga

Yoga

May 16, 2019
father

By Rob Norman

I drove up to my hometown of Grand Rapids, Michigan after a very long hiatus.  I cruised along once-familiar roads and arrived at the brick-paved Wealthy Street, which back in my early days, at least in that part of town, was anything but wealthy. I stopped and looked for my father Larry’s warehouse that I had worked at for many years of my youth.  I found it, now quite clean and professional in appearance, in the center of a fully gentrified neighborhood.

The building was now occupied with a yoga studio called “From the Heart.” I walked in and checked it out.  I made plans to take a class the next morning.

I was in town to try and find one of my brothers, Steven.  Not only had we grown up in the same house, but we had slept in the same bedroom.  He had written me via text (he would not speak over the phone to me or any other family member) that his girlfriend of over three decades, Cathy, was now sick with cancer and off and on in the hospital.  I came up to Michigan to see what was happening.

Steven spent much of his days driving his bike around town, frequented the library, and God knows what else.  He had always lived at the fringe of society, never able to gain purchase on any semblance of a normal life.  As with our father, as far as I know, he never sought much-needed medical or psychiatric help and was in constant denial as to the severity of his problem.  When my mother was alive, she never seemed to know what to do to help him.  She would provide him food from the Temple Emanuel food bank where she volunteered and gave him cash whenever others gave her money. Time moved on and now he was in his late 60’s, still just as trapped as ever. Continue Reading…

Guest Posts, parenting, Yoga

This Surrender

February 26, 2018
surrender

photo courtesy of Suzi Baum

By Suzi Baum

I go to a yoga class with babies.

A college student tends a cluster of children in a room behind the yoga studio while mothers, fathers, people who I don’t know well enough to know if they have kids or not and it does not matter at all, here we are with students, elders, people of all shapes and abilities-all of us stop on our mats for an hour, stop all the else we are about, and center, together.

We are marbles off track.

We run the edge of the singing bowl that is this class, spinning around the rim until the centering pull of breath and asana brings us to the center, of the bowl, of our selves, of this moment.

There is often a shout or a cry at just the perfect moment. We chuckle. We breathe. We go on.

I did not always attend yoga classes with babies. Continue Reading…

Guest Posts, Anxiety, Yoga

Yoga Taught Me I Could Stare Down Fear

April 24, 2017
yoga

By Amy Moore

I grew up as a painfully shy, introverted girl in a family with three brothers.  Like many others, my parents were held hostage by their own demons which left them unable to function in a capacity that a child needs as they’re growing up.  At home, it was best to be quiet, obedient, and almost invisible as an effort to keep the calm among the chaos.

As a kid, I sat on the sidelines observing others living life and unable to get past my anxiety to be able to participate in many activities or make many friends.  My life remained similar as I grew into a teenager.  My emotional pain manifested into numerous unhealthy habits, the most profound was my body image.  In early adolescents, I began my journey with anorexia and bulimia and suffered with it secretly for years. Maybe in a sense I was trying to disappear, to go unnoticed and unseen through life.

Although I was physically and mentally unhealthy I longed to be a healthy strong person. I read and researched everything that sparks my interest, which is exactly how I came to find yoga.  When I started reading about yoga I was fascinated about the stories of health and healing that so many people experienced. However, it didn’t seem possible to me.  How could stretching and breathing change your entire life? Regardless of my reservations, I felt drawn to learning more.  I wanted to know more about the practice peacefully displayed on DVD covers and magazines. Continue Reading…

Guest Posts, Yoga, Yoga Classes

The Arena

May 27, 2016
yoga

By Anne Falkowski

My car flies at breakneck speed to make a yoga class. The sun spanks my eyes.

Its anonymity I seek. To be a body in a flock of bodies where none have crossed my path before. To be a cut-out swatch, side by side, without being pinned to any other. To complete a pattern. To be random. To fall. To float. To fly. To flutter. To feel.

To fight.

No, I have not come to the yoga mat to fight but I just realized I placed my mat next to someone I used to know. Someone I had a fight with. A public fight. I was left beaten, covered in my own invisible feathers. Maybe time has a way of making us more than we were.

It’s too late to move.

It’s subtle how we recognize the past. I knew it was her because of a curve of her skin and an angle of her cheek. The space she took up and the space she didn’t. The negative space of her. Nothing definite. Each of us carry our imprint of the other.

***

It’s been a few years. Does she know it’s me? Does she see my new tattoo spread across half my back? A blue goddess, covered in teeth and snakes. She holds a dagger.

I look down at my legs, one thigh folded over the other, my feet bare, aware that I haven’t showered in two days. My period is on its way. I smell it like moss, sticks, and bits of feather.

Her eyes are closed. Pretend rapture, I’m sure.

I want my blue goddess to aim her dagger between those eyes.

S. is attractive. Dark hair and eyes, tall and thin. Has six-pack abs. When she used to teach yoga at the studio I own, students would comment on how they wanted a stomach like hers. My hands go down and squeeze the flesh of mine which has been through too many rounds of weight gains and losses. My hands amass silvery webbed flesh with a slit for a belly button. Some would say a trophy.

Shit, I thought I was better than THIS. I had let all THIS go. Maybe old demons need to air their foul breath out of pursed lips to remind us what we have not completely digested. Maybe they need to tongue rattle.

I close my eyes. I draw my breath up to my collarbones where it lingers. I purposely hold it there. I watch the pause and wait for it to right me. It kind of does. On the exhale, the breath floods my belly. A wind sound fills the back of my skull. My jaw bones soften. I am finding my way back to what needs my attention. Back to now. Now is breath and sensation.

A yoga teacher once told me: Feed your demons. A strategy for not having them eat you.

Do you need to know the story between S. and me? Does it matter? Did it ever? Maybe I need to tell it.  Maybe the need is why it matters.

The climax of the fight takes place at my studio, three years ago, in the hallway, among carefully placed pairs of shoes. Mostly flip-flops and sandals. The bodies that go in the shoes are inside the yoga room, on their backs, their knees roll to one side and then the other, in a guided knee-down twist.

S. is my studio’s most popular teacher. She has stepped out of the room she is teaching in, and has grabbed my arm. For a brief moment, I think she is in pain. But no, it’s something else, hot and insistent. Her mouth moves open and shut, open and shut. Words come out and spill on the cork floor. Something about quitting, opening her own yoga studio less than a mile away, and taking with her as many students as possible.

I ask her why. She tells me, “You need to look inside. Do some searching. Ask yourself why no one respects you.”

NO ONE RESPECTS YOU…NO ONE RESPECTS…NO ONE…YOU….YOU…YOU….

Her bobbed black hair swings this way and that and her lips get redder as she speaks. Now the students are on their backs with knees bent, feet on floor. They push into their feet and lift hips and torsos up to the ceiling. Their necks are extensions of their spines. Little spines in neat rows. Up and down they go. An assembly line of ribs expand and contract like the small bodies of birds breathing.

YOU NEED TO LOOK INSIDE….

How fucking dare she?

Seeing red is a real thing.

Red is the color of heat,

the tongue.

I have never been able to speak up to her or anyone at my studio.

She tells whomever will listen I am jealous of the amount of students she draws in.

She says she is the reason my studio is a success.

She tells others not to take yoga from me, that I’m not a real yogi.

I secretly wonder if she’s right.

Red is the color of shame.

Deal with red.

I’ve done yoga with weapons. At a workshop. We were meditating on death, while we flowed through standing poses. A live drum pulsed in the room. The space between hitting the drum and the sound it makes is called Spanda. In Sanskrit, Spanda means pulse of the universe. The beat of your heart is called Anahata. It means unstruck sound.

The teacher put various weapons in our hands. In Warrior One, he gave me a staff. I felt nothing. In Goddess Pose, he changed out the staff for a sword, still nothing. Then a loaded pistol, black and heavy. He curled his slim fingers around my hand. Our wrists touched one another. Still no response. Then the dagger. In my hands in Warrior Two. Front knee bent and my bare feet pushing into the ground. There. There it was. The right weight. Its size surprisingly small. My throat opens and the drum beat burrows deep into my hip sockets. My body electrifies. A familiarity. A knowing.

I’ve killed with a dagger. More than once.

Knife-wield, wing-flap, tongue-dance, bone-beat, heart-beat, drum-beat, red rhythm, ancient ones I have known.

Always known.

We don’t make eye contact, S. and me, as the teacher calls out poses in the heated room, and sweat pours from my hair-line. S. was never one to break a sweat but not because she doesn’t work hard. For a few poses, I forget about S.  It’s only me and the rise and fall of my breath in the forest of others, my body folded in half. A silvery belly I am. A long spine I am, making it expand and contract to lightly cage me, to hold me lover-like.

At the end of class, before final resting period, the teacher brings us onto our backs and talks us up into wheel pose. A pose where you bend your knees, feet on the floor, bring your hands behind your shoulders and press up making a big upside down U shape with your spine. It moves stuck energy.

Out of the corner of my eye, I watch S. She pushes up into wheel with me. For a few breaths we are holding together in sync. We are both strong. But then she pushes herself up off her hands to standing. A move requiring huge amounts of leg and back strength.

I know, right there, she is competing with me. Wanting to show me what she can do, just like I wanted her to see my tattoo. For a moment, I feel nothing but awe.

She does five of these. They are called wheel drop backs. A pose I cannot do, but oddly I do not feel less than. I witness each one while I hold my own, more moderate wheel, the one the teacher is guiding. My legs shake in their own right. My boneless tongue curls and presses up against my soft palate.

The yogis believe emotions are manifestation of energy. They purposely raised animal energy: anger, jealousy, lust, shame, and fear. And then they sat in it. Don’t move, don’t flinch. The more you bring up animal energy, the ones that throw you the most, the more you breathe into them and feel them and face them, the more you will learn to ride bareback.

After wheel, we go into final relaxation.

Ten minutes later, the teacher tells us to slowly awaken our bodies. My ritual is to hold every part of me still except to slowly move my tongue side to side. My red tongue, the color of the earthworm, a creature who can regrow segments of themselves when they need to. In this liminal space after yoga, the parts of me which have been cut off, banished, damaged, or lost, have regenerated. Only now, they are different, not exactly the same. They’ve reinvented.

I sit up and wait for S.

I’m not sure what will happen.

Nothing does.

S. remains on her back, covered in a blanket, a small silky pillow stretched across her eyes. I sit there, with my legs tucked under me, until everyone else is almost gone. It becomes obvious she’s not going to get up. She will stay like this forever, covered and motionless, if she has to.

I don’t want her to have to.

I roll up my mat and walk away.

A dagger inked on my back.

My body feels light and full at the same time.

I could take flight off the ground.

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Anne Falkowski is a yoga teacher/workshop leader and a wannabe writer. She has published numerous articles on yoga and body image.  She can be reached at director@samadhiyogastudio.com

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Join Jen Pastiloff in Tuscany Sep 17-24, 2016. There are 5 spaces left. This will be her only international retreat in 2016 and is her favorite retreat of the year. Email barbara@jenniferpastiloff.com asap. More info here. Must email first to sign up.

 

Join founder Jen Pastiloff for a weekend retreat at Kripalu Center in Western Massachusetts Feb 19-21, 2016. Get ready to connect to your joy, manifest the life of your dreams, and tell the truth about who you are. This program is an excavation of the self, a deep and fun journey into questions such as: If I wasn’t afraid, what would I do? Who would I be if no one told me who I was? Jennifer Pastiloff, creator of Manifestation Yoga and author of the forthcoming Girl Power: You Are Enough, invites you beyond your comfort zone to explore what it means to be creative, human, and free—through writing, asana, and maybe a dance party or two! Jennifer’s focus is less on yoga postures and more on diving into life in all its unpredictable, messy beauty. Note Bring a journal, an open heart, and a sense of humor. Click the photo to sign up.

Guest Posts, Binders, Yoga

The Gift of Breathing

April 4, 2016
yoga

By Kirsten Palladino

Rainy Sunday mornings are right for praising life with yoga. My first session of the season is going resplendently well. My body isn’t arguing with me as I thought it might—a dedicated yoga class hasn’t been on the calendar in 10 years. A twin pregnancy and decadent, indulgent food in a metropolitan city as a restaurant editor have enabled me to eat recklessly.

Through death and abandonment, my original family of four shrank to one in the course of just a few years. I have grief-gobbled myself into a puffy caterpillar form, minus the legs. Finally, I’ve earned the mockery of the high school girls calling me an elephant, a quarter-century too late.

But my body is strong and limber today, giving me what I need. Hips opened wide after delivering two darling boys in one night—finally, I birthed a living child; full healing lungs breathe in deeply instead of screaming and gasping after a 15-year childhood stint of sucking on the cancer sticks (family legacy).

As we move through our positions, I hear my therapist’s words in my head: “Inhale deeply through your nose as if you’re trying to smell freshly baked chocolate chip cookies. Then breathe out of your mouth so strongly as if you’re trying to blow out birthday candles across the room.” In. Out. Mindful breathing. Here we go. Continue Reading…

Converse-Station, Guest Posts, Interview, writing, Yoga

THE CONVERSE-STATION: Novelist Stephen Policoff Interviews Poet, Short Story Writer & New York Literary Lion Tim Tomlinson

December 26, 2015

Welcome to The Converse-Station: A dialogue between writers. With the site getting so much traffic (my Facebook page is reaching over 18 million people) I can think of no better way to utilize that traffic than to introduce the readers to writers I love. The dialogues created within this series have stayed with me long after I’ve read them on the page. Enjoy. xo Jen Pastiloff

 

Turnabout is fair play, or so they tell us.  Last November, my friend and colleague Tim Tomlinson interviewed me on the eve of the publication of my 2nd novel, Come Away (Dzanc Books, 2014).  And now, I am returning the favor, letting Tim discourse on his amazing and inspiring work. ~ Stephen Policoff 

 

SP: I have read and loved some of your poems and short stories—which, by the way, always seem to be published in cool and interesting magazines.  Do you have a preference for one form or the other?  Are there certain subjects which evoke one form rather than the other?  Do you work in—or plan to work in—other forms as well? Novel? Memoir? Screenplay?

TT: Many thanks, and yes, I’ve been fortunate to have my work appear in some pretty cool venues: Pank, and Heroin Love Songs, and Down and Dirty Word.  Not quite the same register as The New Yorker, or The Atlantic.  But sometimes the unwashed of today wear tomorrow’s tuxedos (or we know some people who will).

I go back and forth between poems and fiction. If I’m supposed to be doing one, I do the other. This way I get an illicit thrill and simultaneously court disaster—story of my life.  All my subjects—from the pleasures and perils of various forms of inebriation, to the pleasures and perils of the coral reef—appear in both forms.  Sometimes the poems begin as notes toward something. Blueprints, or maps.

There’s “B.A.R.” the poem (Soundings Review), then “B.A.R.” the story (Blue Lyra Review). I wrote the poem first, it got published second, but both uncoil from the same trigger event.  Writing the poem gave me the story.  The story opened up the incident, I built backwards. In an old interview, Denis Johnson talks about the stories that became Jesus’ Son—how they grew out of drafts of poems that, he felt, didn’t fully work.  The first story in that collection, “Car Crash While Hitchhiking,” opens with the lines of the poem from which it springs.

Many of my stories are linked—the ones featuring the protagonist Clifford Foote.  When I reach “the end,” I’ll call the collection a novel-in-stories, with the title Work Until Failure.  At least a dozen of its “chapters” have already been published, and you’ve probably seen one or two.

And in between the poems and the stories, I’ve done something entirely new for me: Yolanda:  An Oral History in Verse, will appear in October, 2015 with Finishing Line Press. It’s a collection of accounts I gathered from survivors of Super Typhoon Yolanda, then reconfigured into poems.  (In November 2013, the islands of Leyte and Samar in the Philippines were devastated by Haiyan, known locally as Yolanda; well over 10,000 died—the official number is lower, but there’s a cynical motivation for that.)

 

SP: I know that you teach writing about music and assume that music has been a tremendous influence in your life.  Could you tell us a little bit about the ways in which music influences/is a presence in your work?   Bonus Question: If you could be a piece of music which would you be?

TT: I take heart from music, and from the stories of musicians. Bob Dylan’s Chronicles I opens with his encounter with prize fighter Jack Dempsey. Obviously, the suggestion is that a career in music (or writing, or painting, any of the arts) is analogous to getting in the ring. You will be hit, you will be knocked down, you will lose. But you have to keep fighting. Chronicles I is structured around a series of walls that Dylan hits, and his accounts of how the walls affected him, and then how he got over or around them. As Tom Waits says, any way’s the only way. With writing, you can get hung up on—I do get hung up on—rules and templates and the way things are supposed to be. But often the thing you need to do is the thing you’re not supposed to do, the thing that breaks the rules. Dylan’s work teaches that, over and over again.  Blood on the Tracks is a great example—the non-linearity of the narratives, the multiple points of view, and the asynchronous events happening simultaneously.

At the moment, I’m reading interviews with Joni Mitchell. She says that she dipped her toes in the lake of jazz, and then Mingus came along and shoved her in all the way. That’s how I feel with poetry. I always wrote it (despite Philip Levine begging me not to), but I was much more committed to fiction. Teaching—the needs of my students—is what pushed me into poetry’s lake (which I should probably call Innisfree). I couldn’t teach without doing, and I couldn’t do without sending out, and suddenly I was having more success placing poems than placing stories. And I thrive on encouragement.

In reference to music itself: I love how certain music induces moods, and I love to write out of moods. Yearning, melancholy, abstract rumination. One morning while we were living in London, I was listening to Erik Satie’s “Gnossiennes” (Pascal Rogé, piano), and two poems emerged, damn near fully-formed.  They were  “Broken Things” (https://www.mandala.uga.edu/recon/poet-broken-recon.php) and “Mescaline”(https://saxifragepress.com/tag/tim-tomlinson/).

SP: Bonus Question: If you could be a piece of music which would you be?

TT: “In a Sentimental Mood,” the Sarah Vaughan version, the Nancy Wilson version, and/or the Ellington/Coltrane version, not all at once.

SP: Travel, too, seems to be a huge factor in your life, especially travel through Asia (?).  Could you tell us a little about how travel/living and working in other countries has affected your life—and your writing especially?

TT: Even as a kid, I wanted to be the boy who ran away and never went back. (I have a story called “Runaway”; it appears in the current issue of Tomas, the literary journal of the University of Santo Tomas, in Manila.) William O. Steele’s Flaming Arrows and Jean Craighead George’s My Side of the Mountain planted the seeds. Tom Sawyer and Huckleberry Finn cultivated them. On the Road and The Electric Kool-Aid Acid Test—these led to first, and probably premature, harvests. When I was eighteen, I wound up living on a research vessel in the Bahamas. I say wound up because there was never any plan except to be available for opportunity, the wilder the better. Now I think of my time in the Bahamas as analogous to Percival in the Grail Castle: there I was, in the midst of all that splendor—the islands themselves, the people, the water, the coral reefs. But I was too dazzled to ask the right question. In The Story of the Grail (Chretien’s), Percival flubs his visit to the Grail Castle, and if I remember correctly, he winds up back on his horse staring at drops of blood in the snow. I didn’t have a horse, so I went to college (in some respects, an exchange of one wasteland for another).

Asia came much later. My wife is from the Philippines. We started visiting the Philippines for extended periods pretty much every year since 2003.  I started teaching summers in Thailand.  Then we had two glorious years in China with NYU Shanghai’s Liberal Studies program—the original NYU program in China.  We did a lot of travel in China, and throughout the region—Singapore, Hong Kong, Bangkok, and up and down the Philippines. We made our first visit to Tacloban, on Leyte, during that period, and then of course the typhoon struck. That wiped out the place where we’d stayed, and we felt we had to give something back to a place that had made us feel so welcome. Out of that comes Yolanda: An Oral History in Verse.

Flannery O’Connor says that a writer has all the experience she needs by the age of seven. That’s true for some work. But all the time I’ve spent in Asia has opened up new material for me. Raymond Carver divided his life into the Bad Raymond years, and the Good Raymond years. And he often took Bad Raymond behaviors into Good Raymond settings. “Cathedral” is an example. I have Pre-Asia Tim, and Asia Tim. I’m putting the one into the other and having fun with the collisions. Pre-Asia Tim isn’t exactly a bull in a China shop, but he is a worm, and a weasel, and a dog, and a monkey.

SP: What about yoga and your relationship to it and how does that connect to your work (if it does)?…that one is a serious question.

TT: Yoga provides a foundation for my life. Without it, I don’t think I’d be doing the writing. Regular practice results in incremental improvements, and not just in executing the asanas. But because the asanas get better (easier to achieve, to hold, to transition in and out of), a more general sense of well-being occurs. I think it’s a lot like learning an instrument, except it’s the body, and the mind, and the life, that’s the instrument.

When I began a regular practice, thirteen years ago, almost everything beyond the simplest basics seemed way beyond my ability. A lot of what seemed impossible then is a part of my daily practice now. Headstand, for example, or some of the binds. The lessons you learn from the practice translate into your everyday life. And when you encounter a yoga problem—and you always do; as one of my teachers used to say, yogis seek discomfort—you find a solution, eventually, through the breath, which can mean the breath literally, or, more figuratively, daily sustained effort (although yoga teachers tend to scold too much effort).

You can see how all of this applies to writing. You fail, you fail better. You don’t nail the headstand, and you don’t nail the sestina, the first time out. But you come back to the problem and you give it your breath—it is your breath—and you don’t experience it as a failure, you experience it as another day in the practice. Then, one day, you’re in headstand in the middle of the room. And the next day, you have a book.  NB: my collection of poems, Requiem for the Tree Fort I Set on Fire, will appear late in 2016, with Winter Goose Publishing.  To me, a collection seemed much more impossible than a headstand in the center of the room.

SP: Tell us a little about New York Writers Workshop, and your role there.  Can you tell us about how The Portable MFA came to be?

TT: New York Writers Workshop is a collective of writers who teach. We’re based primarily in New York City.  We formed in 2000, incorporated in 2001.  Our first slogan was Think Outside the Yellow Box—Gotham was our local “competition.” Now it’s Coming Soon to a Continent Near You—in July 2015, I bring New York Writers Workshop’s Pitch Conference to Australia. We’ve been in China, the Philippines, Singapore, Hong Kong, Mexico, and in many locations in the US, including Kansas and Alabama.

The Portable MFA in Creative Writing is our craft book. It covers fiction (the chapter I wrote), poetry, drama, and a few different forms of non-fiction. It’s enormously flexible—it’s on high school creative writing syllabi, college syllabi, and grad school/MFA syllabi—and it’s moderately successful—4th printing, over 20,000 copies. We’re very proud of it. I’m a co-founder of the organization, and I’ve been the president since day one, basically because I’m the only one who read Robert’s Rules of Order. Our mission is to help writers, at whatever stage of their game.  So we do community outreach in programs for inner city youth in trouble with the law, and we do pitch conferences for writers with manuscripts but without publishers.

We have a phenomenal staff—poets Loren Kleinman, Hermine Meinhard, Mary Stewart Hammond, writers in dramatic forms such as Emma Goldman-Sherman, Ross Klavan, Neal Rowland, novelists Yvonne Cassidy, Sally Koslow, Manreet Sodhi Someshwar, graphic novelists Laurence Klavan and Alissa Torres, multi-genre writers like Charles Salzberg who’s got almost as many books as Joyce Carol Oates, and Jacqueline Bishop, who paints, quilts, and photographs in her spare time away from novels, short stories, poems, and oral histories. If you can’t tell, I’m very proud of this group. We’re the little not-for-profit that could.  Ah, and I should mention our two other divisions:  Greenpoint Press, run by Charles Salzberg, publisher of fine fiction and non-fiction, and recently featured in PW, and Ducts, the literary webzine of New York Writers Workshop, with an archive that’s starting to rival the Paris Review.

Stephen Policoff

Stephen Policoff

 

*Featured image is author Tim Tomlinson

cancer, courage, Guest Posts, healing, Yoga

My Love Letter To My Yoga Teachers

October 30, 2015

By Alexa Shore

At 44 years old, I never thought I would get cancer. I never ever thought I would get it twice.  I never thought my yoga practice would save my life.

I knew something was wrong. I felt nauseous, had food cravings, felt as if my hair was falling out— was I pregnant? I went to the doctor to get a blood test and physical examination. I was handed a slip for a mammogram the following week.  That weekend, I went for a hike. I felt a lump. I went back to the doctor.

My oncologist said I was “lucky” after being diagnosed with “early detection” aggressive HER2+ breast cancer. Lucky?  That I have cancer? The second time I got breast cancer, I heard the words again. I finally got it. Both times, yoga had taught me to be so aware of my body, that I knew something was wrong. The second time around, I had the voice to speak up and say something was wrong – again. I caught my own breast cancer, twice, before it could metastasize to my brain, bones, liver and lungs.

I was healthy and I practiced yoga. I was not immune to cancer. People asked me questions about diet, environment, and personal habits to try to understand why I got cancer, and then, why it came back. I wanted to understand too.  I was told by one doctor “cancer creates change” I began to think …

I am a single mom, love my children, my family, my friends, my work, yoga, sunsets, and dancing. Change what? My body was strong; my mind positive and optimistic. So I sat and thought. How is Alexa? Did I truly have balance? Did I make time for me while juggling everything I did for everyone else?  Was I stressed? Did I feel resentment that I did not have time for myself? I bought gifts for myself and traveled to amazing places, but what about me? My spirit? Is this why I got sick? Could I have actually enabled cancer to grow? Continue Reading…

Guest Posts, Yoga

My Spiritual Gangster’s Gone Rogue

September 24, 2015

By Alana Downey

I was living in a 2-bedroom rent control for $1900/month in West Hollywood. I quit a job after a tireless effort of me trying to wave a huge red flag in front of the owners of a well-known residential rehab.  “Pay attention, these are peoples lives we are dealing with- your staff needs to know CPR YO”.  A month later a client OD’d on my day off- the same day the love of my life decided to move out. That was a bad day.

My friend Janice knew what I had just gone through.  She was beaming with the Golden White Light from her new found passion- Power Yoga.  She nudged me to come, dangling a week’s free pass.  Without thinking I was in a C2 Power yoga class on Hollywood Blvd finding my lost Downward Dog.  I had been an on/off again Yogi for years. I knew the basic poses so I could keep up with Power Jones’s next to me. This time, yoga pulled me like never before.

Here I am an ex punker, tattooed since the 80s “finding myself “jumping into Chataranga with just as much rage as I did jumping into the pit of a Dead Kennedy’s show, only this time my Doc’s were in the locker and by now, my inner child had been educated on the streets with enough experience strength and hope to knew how to separate the two.

By the end of my week’s pass I was hooked and ready to sign up for a monthly pass.  The enlightened being behind the counter, that was just teaching the class, who minutes ago, was swaying me to let my heart burst open by bending my back and opening my arms wide, instantly brought me back to the pit with “would you like the black tag special of $150/month”? Are you f**ing kidding me, Black Flag what??….. I was a single mother on food stamps and by the look on his face; my punker must have shown, as with his next Ujahee breath, he offered me YFT-  (that’s Yoga For Trade, not a new punk band).  I could clean the studio’s 3 hours a week for unlimited yoga. My inner punker heart burst open… SOLD. Continue Reading…