A place where I can be as honest as I need to — because the fire has already begun in my home, swallowing my most valuable possessions — and even my loved ones. It’s not to say, ‘Oh, thank god for war,’ but it is to say that it is so much more complicated than the binaries that we often navigate through.”. Not at the dinner table. I want to use it to talk about my obsessions and fears, my odd and idiosyncratic joys. Follow NBC Asian America on Facebook, Twitter, Instagram and Tumblr. Benaroya Hall is located at 200 University Street, directly across Second Avenue from the Seattle Art Museum. And it was a reckoning, I think, existentially, with myself as an artist.
This option is present at every event at Benaroya Hall in our 2019/20 Season. The event rate is $16.
Please note: we appreciate a two-week advance notice to allow us time to secure interpretation. And I think it goes back to Noah’s Ark, too. Oh, I didn’t mention that you’re a MacArthur genius. Today with the writer Ocean Vuong, recorded at On Air Fest in Brooklyn in early March. Tippett: I would not have traded the experience of being with you, physically, but I think I really love — most of my interviews are remote. The way we say hello to each other — “Hi, how are you?” “Oh, good, good, good, good, good.” So the “how are you” is now defunct.
I’m really excited. And I think this relationship is how I started to see words. And as we’re hearing, it’s consonant with the way you understand reality and help other people understand reality. And I think, thinking about death and thinking about what we do towards it, around it, helps me center myself in such a chaotic space. Assisted Listening Devices (ALDs) are devices that people with hearing loss use in conjunction with their hearing device (hearing aids or cochlear implants). I was surrounded by storytellers, by survivors and storytellers. He is the author of the poetry collection Night Sky with Exit Wounds, which won the T.S.
The child of illiterate rice farmers from rural Vietnam, Vuong came to the United States as a refugee with his family at the age of two. Storytelling, the making of metaphor, that all comes before the written word.”. Now you have to work with your body.
She took her earrings off. And looking at — I remember, when I heard of his suicide, I was a student at Brooklyn College in New York. And that wove into you reflecting, on these walks you do through New York City, on fire escapes: you know, “All that richness and drama sealed away in a fortress whose walls echoed with communication of elemental and exquisite language” — you’re looking at all the buildings — “and yet only the fire escape, a clinging extremity, inanimate and often rusting, spoke — in its hardened, exiled silence with the most visible human honesty: We are capable of disaster. I owned it. I love this room, and I love the energy in it that you all are bringing.
And I think it’s the poets, the writers, and even the youth — they’re using language to cast new meaning, in the same way Chaucer just winged English spelling. But I was able to pick out words here and there. It is about survival as a creative act,” Vuong said of his characters. But that’s language you use for animals.
When Ocean Vuong moved to New York City after high school, he was startled to hear the general perception of his hometown. “I was the first to know how to read and write, but they were the first poets,” Vuong said. She’s in the bag. I have this question that I ask at the beginning of most of my conversations — an inquiry about the religious or spiritual background of someone’s childhood or however they would define that now.
None of us would have guessed that within a handful of days such an event would become unimaginable. We talk all the time. Humanity United, advancing human dignity at home and around the world. The On Being Project is located on Dakota land. And so I think it’s valuable to open up that debate again. Vuong: I go out, and I walk along the cemetery, and even without it I sit down, and I do a death meditation. He is the author of the poetry collection. Vuong: Right. She watched you. Vuong: We know language matters. A Ruth Lilly fellow from the Poetry Foundation, his honors include fellowships from the Lannan Foundation, the Civitella Ranieri Foundation, The Elizabeth George Foundation, The Academy of American Poets, and the Pushcart Prize. And we will.”. And I do think it’s part of my own nurturing of my own mental health. I will never know exactly why. And that notion that you are a participant in the future of language is something I think our American education failed us. Patrons & Grand Patrons, join us for light bites and wine on the Promenade at Benaroya Hall from 6:30 to 7:15. 340 15th Ave E #301 | Seattle, WA 98112 And by the way, if somebody chops down a fruit tree, that’s a red flag, for me. We’ve been telling stories as we work, side by side. Vuong: I think so.
But you have ways of making that more possible in yourself. So a 19-year-old kid, thinking, as teenagers do, “Well, I’ll go to war, play a trumpet.”. Tippett: He was a Zen Buddhist without knowing it. Tippett: You wrote, somewhere, “No bombs = no family = no me. Ocean Vuong's debut novel, "On Earth We’re Briefly Gorgeous," is scheduled to be released Tuesday by Penguin Press. It doesn’t access. “The immigrant community is not credited for being artists, but they experience the creative artistry of living day to day and surviving past your expiration date.”. And it sold weapons to both sides during the Civil War. So let’s start. I want to leave the party through the window and find my uncle standing on a piece of iron shaped into visible desperation, which must also be (how can it not?) I think it’s the mythos of capitalism — that you’re always supposed to be producing; this anxiety of being productive and quantifying your self-worth through page counts and word counts. On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read.
And I think, for me, whatever my mother presented to me, those early mornings in front of the altar, is still true. So …, … sometimes, I gotta rein it back. I’m not saying it’s wrong, per se; I use it, too, being a product of this country. You can always listen again, and hear the unedited version of every show we do on the On Being podcast feed — wherever podcasts are found. Ocean Vuong on discusses war, sexuality, and Asian American identity on Amanpour and Company. Speaking of the body and walking and movement, I want to close — you wrote this beautiful essay in The Rumpus in 2014, called “The Weight of Our Living: On Hope, Fire Escapes, and Visible Desperation.” Part of the context of that piece was your uncle’s death by suicide. But the power and the mastery in her performance is the oscillation and the respect of how a word, which is static on the page, can be lifted and amplified through using the whole range of human emotion in the voice. And that coarsens us. And that is true, and we’re gonna talk about violence, but I’d also say that the sweep of your work is about bearing witness to the other side of violence and the possibility of joy, while taking nothing away and continuing to bear witness to the fullness of what has been carried and what has been survived. What does that look like? And in fact, you guys were in a refugee camp in the Philippines, and you had to — someone took that picture, and you paid them for that picture.
Born in Saigon, Vietnam, he lives in Northampton, Massachusetts, where he serves as an Assistant Professor in the M.F.A. “I wanted to have a much more diverse look at New England life, which is dependent on these brown and yellow folks to clean for them, to cook for them,” Vuong said, referring to the residents of the wealthy towns that surround Hartford. And my root in the narrative and literary techniques and embodiment begins way before I entered a classroom. We know language matters. And in this sense, having the words in the air — I feel like the voice in the air is like a second page.
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