Following the path I started last week in my meditation on Korihor’s curse, this week I explore Alma’s efforts to try the virtue of words.
Your thoughts are welcome in the comments.
This week, I meditate on a pattern that appears in various places throughout the scriptures: a person is called upon by God to do something the person doesn’t think he can do; God says, “Whatever,” and proceeds to prepare the person for the task.
I explore three different examples of the pattern at play, although there are surely more. Feel free to give them a shout out in the comments.
(The audio-only version. Here’s a direct link to the audio file.)
In this week’s video, I turn to the Pearl of Great Price and explore the interaction between God and Moses as narrated in the first chapter of Moses. I focus specifically on what the narrative suggests about God’s use of language.
(The audio only version. A direct link to the audio file.)
In this week,s installment of my series ‘On the Mormon Vision of Language,’ I ruminate over how vital words are to our relationship with the Word (i.e., Christ). I frame my thoughts, on one hand, in terms of the value the Lehites placed on the plates of brass—enough to halt their exodus and risk their sons lives to collect the records (see 1 Nephi 3:4, especially)—and, on the other, in terms of the people of Zarahemla, who Amaleki tells us left Jerusalem without any records.
As always, your thoughts are welcome in the comments.
(The audio only version. A direct link to the audio file.)
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. Continue reading “On the Mormon Vision of Language: Bro. Chadwick and the Power of Words”
At the beginning of May, my wife and I moved our family from Idaho to Utah. The bishop of our new ward wasted no time asking us to speak in sacrament meeting. At our monthly ward social—ice cream at the park down the street—he stood next to me, made some small talk about running (an interest we both share), joked around a minute with another brother in the ward who had just that morning completed the Ogden Half-marathon (our bishop had run in it, too), then said, “Hey, I’ve got an opening in two weeks for sacrament speakers. Would you and your wife be interested in addressing us?” (Or something like that.)
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 , 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.
I’m of two minds about National Poetry Month.
In one sense, I appreciate the effort (initiated by the Academy of American Poets and institutionalized in April 1996 by President Clinton’s administration) “to highlight the extraordinary legacy and ongoing achievement of American poets; [to] introduce Americans to the pleasures and benefits of reading poetry; [to] bring poets and poetry to the public in immediate and innovative ways; [and to] make poetry an important part of our children’s education” (ref). Even if this official celebration of poets and poetry only happens one month out of twelve and even if people binge on poems during that month but never read another poem all year, at least poetry is being celebrated, right? I can’t complain about that.
In another sense, though, I see poetry as something worth engaging every day. If America can set aside one month a year to advocate for poetry as something that can enhance and enrich “the lives of all Americans” and that “affects every aspect of life in America today, including education, the economy, and community pride and development” (ref), we should be able to make a place (no matter how small) for poetry in our everyday lives, shouldn’t we? Of course, I say this as someone deeply invested in reading and writing and writing about and advocating for poetry. So I may be a little biased.
Whatever the case, and whatever your mind is about poetry and National Poetry Month (prominent poet and critic Richard Howard once called it “the worst thing to have happened to poetry since the advent of the camera and the internal combustion engine,” two contraptions that distanced us from the beauty and rhythms of the earth), I thought I’d share some reflections on how to read a poem, whenever and however often you read one.
The following essay appears as the prologue in my book, Field Notes on Language on Kinship. My ideas (in the essay and in the book) are informed to a great degree by Patricia’s thinking on language and were sparked by her gorgeous poem “Introduction to the Mysteries (or How to Read a Poem).” (Listen to Laura’s stunning performance of Patricia’s poem here.)
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Notes on How to Read a Poem
Some years ago during an undergraduate literature course, a classmate confessed the first time our reading assignment included some poems that “Interpreting poetry is not my forte.” The student’s confession still catches my ear. I hear her/him repeating it poetically in my mind, giving it a lyric ring that comes out more when I write the sentence as if writing a poem, splitting the line after syllable seven: