The Million Writers Award - 2012

Something in Liam’s demeanor had told him already, but the Doctor pretended to be surprised both times the waitresses told him of the relationship between the cook and Ellie.

“They was to marry, come next year, Ellie said”¦”

“She kept it from her mother ““ Efora wanted her to marry her third cousin Lark Nittlescent. Nice favored boy, and well pocketed, but bland as custard”¦”

That interested him.

Ellie wouldn’t have liked bland, indeed. Her menu featured quirks of taste and savor and spices that sometimes felt like blows, but ones that left you tingling with satisfaction. He knew that without her, what had come to the table was only a shadow of what it could have been, but she had designed the recipes, and they were as individual as signatures. As he ate, he had put together the strands, as though he were talking to her in his mind, drawing her out, finding out how she felt about fighting, or politics, or love.

Love. There was a dish on the menu called “The Cook’s Left Hand” and he thought, somehow, that it was meant as commentary on Liam. It was flavored with cinnamon, sometimes called “the forbidden spice” for reasons he was unsure of, which was an odd combination with the fish’s firm white flesh. Sour berries, no bigger than a sparrow’s eye and green as olives, had surrounded it. Somehow that combination of flavors, which should have seemed unsettling, mingled together in a way that enticed the tongue, as though flavored with desire itself.

She had loved Liam. Liam had seen the advantages of a partnership with her, at the least, and had perhaps even returned her love, just buried it so deep in sorrow that the Doctor could not see it. Although the boy seemed to have felt strongly enough about Kim.

How, the Doctor wondered, had Kim felt about Liam?

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One of the distinctions that I sometimes hear people making is “regular” Sf and “literary” SF, usually with some baggage about the literary SF being art. I say, if you’re making something you don’t really interact with for food, shelter, or clothing (and even then, in some cases), you are probably making art.

Word-wrangling is art, no matter whether it is used for the lowest purposes or the most exalted, and the artist who relaxes and enjoys it learns to use artful techniques for the entertainment or edification of her/his readers. And they may, in that process, create something lasting.

At the same time, a dose of art in whatever form — visual, music, verbal — can shake things loose in our heads to the point where better and more interesting words fall out. This is why you should read books like Poetry as Insurgent Art.

Here’s Ferlinghetti himself on the notion of rejecting poetry, aka all that artsy stuff.

Don’t let them tell you poetry is bullshit.

Don’t let them tell you poetry is for the birds.

Have a good laugh at those who tell you poets are misfits or potential terrorists and a danger to the state.

Don’t let them tell you poetry is a neurosis that some people never outgrow.

Laugh at those who tell you poetry is all written by the Holy Ghost and you’re just a ghost-writer.

Don’t ever believe poetry is irrelevant in dark times.

If you’ve ever been inside Ciy Lights Bookstore in San Francisco, you’ve walked the same floorboards as Ferlinghetti, who co-founded the store with Peter Martin in 1953. He and Shig Murao, the manager, were arrested in 1956 on obscenity charges for selling copies of Allan Ginsberg’s Howl.

Why should you read this? I tell you what. I’ll let Ferlinghetti speak for himself by quoting the beginning of Poetry as Insurgent Art.

I am signaling you through the flames.

The North Pole is not where it used to be.

Manifest Destiny is no longer manifest.

Civilization self-destructs.

Nemesis is knocking at the door.

What are poets for, in such an age? What is the use of poetry?

The state of the world calls out for poetry to save it. (A voice in the wilderness!)

If you would be a poet, create works capable of answering the challenge of apocalyptic times, even if this means sounding apocalyptic.

You are Whitman, you are Poe, you are Mark Twain, you are Emily Dickinson and Edna St. Vincent Millay, you are Neruda and Mayakovsky and Pasolini, you are an American or a non-American, you can conquer the conquerers with words.

If you would be a poet, write living newspapers. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance for bullshit.

Ferlinghetti should be read as a subversive act:

The idea of poetry as an arm of class war disturbs the sleep of those who do not wish to be disturbed in the pursuit of happiness.

The poet by definition is the bearer of Eros and love and freedom and thus the natural-born non-violent enemy of any police state.

Read this for the sake of poetry, “the last lighthouse in rising seas.”