—From "Present: An Interview with Marie Howe"
In order to find relevance in the world, we must ask what we are seeking from it. Field Notes pursues change inside and out. We do not want to bore the world with articles that appease the sensibilities of other writers. We want to challenge the systems and structures around us. We want to mold the world of writing and make it more democratic.
For many poets, the act of writing is about the loss of control. An author hopes that those interior ticks responsible for their art will be unleashed on the page and past the urge to tame it. Uninterrupted art is a difficult thing to achieve.
MFA so white they say “I love him” when you talk about Toni Morrison. MFA so white they think AAVE is an acronym for an artisan beer. MFA so white they think code switching is a Call of Duty move. MFA so white that you are the only black student in a program of sixty; you think there may be a black faculty member, because someone mentioned it once in passing, but you’ve never actually seen them and are still unsure.
Not Hearing the Wood Thrush attempts to account for everything we cannot see beyond our brief lives. It doesn’t answer each question it asks, nor should it, but instead sends those questions like radio waves into spaces made familiar by memory, then made mystical and strange through the loss that lives there.
I think that we have to go forward and say, “I’m not going to wait for patriarchal structures to catch up to women poets.” We just have to go forward, and if they are not going to read us in the way that we deserve to be read, then it’s not worth our time in arguing.
On the kitchen wall some faux-antique signs (about what family stands for, about what
home means) that’ve had time beaten into them with socks full of nails.