Books like Map

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.

As a kid, I loved how words on a page transported me. Later, I was astounded by how the words I wrote myself could help me solve problems, deepen my understanding, and expand my thinking. Over time, that writing offered clarity and built my confidence. And in my most challenging times, writing has saved me over and over again. Learning to observe like a writer or an artist continues to help me be more present in my life. Sharing expressive writing experiences with others, during a 35-year career as a writer and workshop facilitator, allowed me to witness how this creative engagement offers a respite while building resilience and joy in others too.

I’m an American writer, Army wife, and occasional expat who has spent nearly a decade of my life living abroad (including Japan, Jordan, and the United Arab Emirates), not to mention seven Army moves stateside. I love to read (and write!) books that explore discordance and dislocation, what it is like to be an American living overseas in a time of war, and how these things impact relationships with friends, families, and strangers, and our concept of “home.” My writing is often an exploration of the mundane mixed with the catastrophic. Oh, and I have a weakness for stray cats. Lots of stray cats.

I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.

I’m Assistant Professor of Religion at Kalamazoo College and my research focuses on the Mahabharata, an epic narrative tradition from South Asia. As an Indian-American kid growing up in suburban Boston, my first introduction to the Mahabharata tradition was from the stories my grandmother told me when she would visit from Chennai and from the Mahabharata comics that she would bring me. Many years later, my friend and colleague Nell Shapiro Hawley (Preceptor of Sanskrit at Harvard University) and I began to work on a project that would eventually become our edited volume, Many Mahābhāratas. I’m excited to share some of my own personal favorite Mahabharatas with you here.

I’ve always been preternaturally attentive to the way words work—as components of meaning, but also as visual, aural, and functional objects with their own erratic behaviors. Since joining the Oulipo in 2009, I’ve had even more occasion to think and talk about how those behaviors can be pointed in a literary direction, and to recognize successful experiments when I read them.