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Guest Post: A Memory Behind ‘The Gospel’ by H.L. Hix

Today’s guest is H.L. Hix, author of The Gospel according to H.L. Hix. The book itself is likely to receive some skepticism at the very least given the subject matter, but readers should consider how this book came into being before judging it. “Hix has gone back to the original source materials, both the canonical and noncanonical gospels and histories and stories of the life of Jesus,” according to the synopsis.

Book Synopsis:

First we have to talk about the elephant in the room–though that might not be the most polite term for Jesus! For many millions of people around the world, Jesus is the Son of God, the divine source of their salvation, his story told in the familiar four gospels of the Bible, and any tampering with that story understandably will be met with suspicion, distrust, even hostility.

So let’s begin with what this book isn’t. H. L. Hix covers this in detail in his Introduction to “The Gospel,” but for now it’s enough to say that this isn’t Jesus Christ, Superstar, or The Last Temptation of Christ. Nothing in this Gospel secularizes or desacralizes Jesus Christ. You don’t get less of the divine Jesus here, you get more.

That’s because Hix has gone back to the original source materials, both the canonical and noncanonical gospels and histories and stories of the life of Jesus, and created out of them a single, more comprehensive and nuanced narrative. A good analogy is to film editing. Most movie directors shoot more film than ever makes it into the version we see on the screen, film that ends up on the editing room floor, the result of commercial decisions often far removed from the director’s vision of the film. Occasionally the director gets the chance to re-edit the film to restore that lost material, producing a “Director’s Cut” that may be very different from the commercial film release. So we can think of “The Gospel” as an ultimate “Director’s Cut” of the story of Jesus, with all of those bits that didn’t make the official version (edited by early church leaders to serve a specific agenda) at last restored.

Something for those enthusiasts who want to dig deeper, to know more. But that’s not all he’s done. Among other virtues of his “Gospel,” Hix has restored the meanings of essential words as they would have been understood by contemporary audiences when the source materials were first written, overcoming what he calls “translation inertia”, the tendency to retain a translation over time even after the sense of the word has changed for current readers. Thus “Lord” becomes “Boss”, and the apostles “apprentices”, changes that allow for a novel understanding of the role of Jesus and of believers’ relationship to him.

Also of crucial importance, Hix has eliminated gendered language wherever possible, in the process inventing new terms that decouple our understanding of Jesus and divinity from the limitations of gendered human bodies and relationships. Thus “Son” becomes “Xon”, for example, a form of literary transubstantiation that renders the divine even more transcendent, in the process opening the Gospel and its promise of salvation to greater inclusivity. Gospel, of course, means “good news.” And the very good news of THE GOSPEL ACCORDING TO H. L. HIX  for believers and for non-believers alike, is that what has been called “the greatest story ever told,” the life of Jesus, just got greater.

Please give H.L. Hix a warm welcome.

One of my most vivid memories from childhood in a devout evangelical Christian home has to do with holiday visits to the even more devout home of my paternal grandparents. Celebrations of Christmas there always included plenty of presents, the accumulated results of Grandmama Hix’s year-long labor. She began in January scouring Saturday morning garage sales for unopened six- packs of tube socks, or broken toys Granddad Hix could repair. Someone else’s grandchild may have outgrown this pair of pjs, but they’d fit one grandchild or another of hers. This shirt might not be in fashion any longer, but it was still in good shape. Not one present was opened, though, and not one grandchild threw one wad of wrapping paper into the fireplace to watch the flame change color, until after the reading of what was simply referred to as “The Christmas Story.”

Everyone (aunts and uncles, all those rambunctious cousins I was always afraid of) gathered in one room and listened to Granddad Hix intone, from a script he himself had compiled and typed out at some point long ago, the King James version of the passages leading up to and recounting Jesus’ birth, from the three synoptic gospels, arranged into a single composite narrative. (It was the unmodernized King James version: I remember the archaic phrase “on this wise” from the beginning, “Now the birth of Jesus Christ was on this wise,” and the word “holpen” somewhere in the middle.) To a little boy of, say, seven, it seemed to go on forever, but surely my grandfather would have said that’s the point.

My paternal grandfather would not have approved of The Gospel, my edition and translation of the gospel, just published by Broadstone Books. He would have objected at least to its merging canonical with noncanonical sources, and its referring to God and Jesus without assigning them masculine gender. Probably also to much else.

In at least one way, though, it draws on his example.

His compilation of the various accounts of the nativity in the synoptic gospels into a single narrative was a hands-on approach to the gospel. My premises don’t line up with his: just as one example, his compilation of the nativity stories fulfilled his belief that the canonical gospels, as the inspired and infallible Word of God, possessed an inherent harmony that he had only to discover in his compilation; my redaction of various gospels, canonical and noncanonical, acts out my suspicion that a “conversation” among evocative texts will be itself evocative. Such discrepancies in our premises notwithstanding, our active engagement with the gospel is not without kinship.

My reasons for paying attention to the gospel differ radically from his, as does my understanding of what I’m paying attention to when I pay attention to the gospel, but for my sense that in paying attention to the gospel I can, and should, pay attention actively, he was an important model.

The Gospel does result from the hands-on approach I inherited from my paternal grandfather, but it’s not the first “hands-on” gospel I’ve composed. This is actually the third gospel I’ve published, and each of the three has its own “drift,” its own direction and intent.

In my 2008 poetry collection Legible Heavens, one of the sections, “Synopsis,” consists of poems based on selected incidents and teachings from the gospels, canonical and noncanonical. By “based on,” I mean that the poems attend with great care to the source (e.g. I went in each case to the original language), but does not attempt simply or straightforwardly to translate it.

For example, “One Sparrow” casts in the form of a villanelle an incident from the Infancy Gospel of Thomas, in which the child Jesus, reprimanded by an elder for molding sparrows from clay on the Sabbath, claps his hands, upon which the molded sparrows fly away. The original is told by a human observer, in the third person, in prose, but in my poem the first-person speaker is one of the sparrows.

Or again, the poem that addresses the beatitudes makes of them a sonnet, and gives for the repeated Greek word μακάριοι not the usual English translation “blessed” but the slightly more aslant word “replete.” Later, in my 2017 poetry collection Rain Inscription, one of the poems, “Near Fire,” creates, by redaction, translation, and modification a “sayings gospel.” It tries, that is, to reverse the historical progression of the gospels, from earlier collections of sayings attributed to Jesus to later detailings of life and travels and deeds. In my poem (my sayings gospel), the isolation of the sayings from the stories of works and wanderings is emphasized by referring to their source not as Jesus but as Sayer.

As for The Gospel itself, my research focused on gathering as many extant gospels, and fragments of gospels, as possible. Once the gathering was more or less complete, I began to translate portions, and to arrange them: this translation/arrangement process was reciprocal and ongoing.

I kept a chart of sections to be translated, but kept “shuffling” translated sections so that the order of sections changed and developed continuously. Similarly, I began with the most literal translation I could manage for each individual section, but modified translations to incline sections toward one another as they became part of the larger, growing whole. My translations got “looser” as their acclimatization to the whole advanced: that is, the integrity of the whole trumped “sticking to the text” of any one portion. After all the individual units had been translated and had entered the whole, the revisions took ever greater liberties, in the sense that they sought beholdenness not to the Jesus of any one passage or any one source gospel, but to the Jesus who lived and spoke in this gospel.

I don’t mean anything to which my paternal grandfather would have granted validity, but I do mean it seriously, when I say I tried in the process of composing this gospel to listen to Jesus. My Granddad Hix would not have approved of The Gospel, but it still proves I was listening to him, too, all those years ago.

Thank you for sharing your research and inspiration for The Gospel.

Mailbox Monday #612

It now has it’s own blog where book bloggers can link up their own mailbox posts and share which books they bought or which they received for review from publishers, authors, and more.

Leslie, Martha, and I also will share our picks from everyone’s links in the new feature Books that Caught Our Eye. We hope you’ll join us.

Here’s what we received:

Carpe F*cking Diem, a gift from Anna at Diary of an Eccentric. (She seems to know me too well!)

A journal to stop the bullsh*t and seize the f*cking day―the perfect undated journal for every thought, list, note, or entry!

Packed with profanity and the IDGAF spirit, this is the perfect journal to say it like it is and get back to what matters. Finally ditch the anxiety, shake off the stress, and take a moment each day to focus on the number one f*cking person in your life―you! Based on the bestselling Carpe F*cking Diem Planner, this is the perfect undated journal to replace your tired old notebook and up your stationery game.

With journal pages, space for list-making, and laugh-out-loud swears, this is the journal that encourages you to embrace the c’est la f*cking vie attitude and focus on your happiness.

Hilarious and with a self-care attitude that tells you to take a damn nap and eat that f*cking ice cream, this is the perfect gift for the sweary person in your life and the ideal journal to carry with you all damn day.

Out of No Way: Madam C.J. Walker & A’Lelia Walker, a poetic drama by Roje Augustin, which I purchased.

Author, producer, and emerging poet Rojé Augustin has written a groundbreaking debut collection of dramatic poems about hair care entrepreneur Madam C.J. Walker and her daughter, A’Lelia. Rojé’s singular and accomplished work is presented through the intimate lens of the mother-daughter relationship via different poetic forms — from lyric to haiku, blackout to narrative. (One poem takes its inspiration from Edgar Allan Poe’s The Raven.) Written in tribute to Walker, Out of No Way deftly and beautifully explores themes of race, motherhood, sacrifice, beauty, and the meaning of success in Jim Crow America.

Raising King by Joseph Ross, which I purchased.

Poetry. RAISING KING urges readers to walk beside Dr. Martin Luther King, Jr. from Montgomery to Memphis, past police dogs, mobs, and fire hoses. Listen to his thoughts, hopes, and fears. You’ll also hear from heroes including Abernathy, Shuttlesworth, and Coretta Scott King.-Joseph Ross

In his beautiful collection of poems evoking the spirit of the Civil Rights Movement, Joseph Ross offers his readers hope and inspiration for our own difficult times. These poems call us to revive our courage, moral convictions, and belief in the ultimate redemption of humanity.-Susannah Heschel

Everyday Mojo Songs of Earth: New and Selected Poems, 2001-2021 by Yusef Komunyakaa for review from the publisher.

New and selected poems from the Pulitzer Prize–winning poet

These songs run along dirt roads
& highways, crisscross lonely seas
& scale mountains, traverse skies
& underworlds of neon honkytonk,
Wherever blues dare to travel.

Everyday Mojo Songs of Earth brings together selected poems from the past twenty years of Yusef Komunyakaa’s work, as well as new poems from the Pulitzer Prize winner. Komunyakaa’s masterful, concise verse conjures arresting images of peace and war, the natural power of the earth and of love, his childhood in the American South and his service in Vietnam, the ugly violence of racism in America, and the meaning of power and morality.

The new poems in this collection add a new refrain to the jazz-inflected rhythms of one of our “most significant and individual voices” (David Wojahn, Poetry). Komunyakaa writes of a young man fashioning a slingshot, workers who “honor the Earth by opening shine / inside the soil,” and the sounds of a saxophone filling a dim lounge in New Jersey. As April Bernard wrote in The New York Times Book Review, “He refuses to be trivial; and he even dares beauty.”

The Gospel according to H.L. Hix for review.

Literary Nonfiction. Religion. First we have to talk about the elephant in the room–though that might not be the most polite term for Jesus! For many millions of people around the world, Jesus is the Son of God, the divine source of their salvation, his story told in the familiar four gospels of the Bible, and any tampering with that story understandably will be met with suspicion, distrust, even hostility. So let’s begin with what this book isn’t. H. L. Hix covers this in detail in his Introduction to “The Gospel,” but for now it’s enough to say that this isn’t Jesus Christ, Superstar, or The Last Temptation of Christ. Nothing in this Gospel secularizes or desacralizes Jesus Christ. You don’t get less of the divine Jesus here, you get more. That’s because Hix has gone back to the original source materials, both the canonical and noncanonical gospels and histories and stories of the life of Jesus, and created out of them a single, more comprehensive and nuanced narrative. A good analogy is to film editing. Most movie directors shoot more film than ever makes it into the version we see on the screen, film that ends up on the editing room floor, the result of commercial decisions often far removed from the director’s vision of the film. Occasionally the director gets the chance to re-edit the film to restore that lost material, producing a “Director’s Cut” that may be very different from the commercial film release. So we can think of “The Gospel” as an ultimate “Director’s Cut” of the story of Jesus, with all of those bits that didn’t make the official version (edited by early church leaders to serve a specific agenda) at last restored. Something for those enthusiasts who want to dig deeper, to know more. But that’s not all he’s done. Among other virtues of his “Gospel,” Hix has restored the meanings of essential words as they would have been understood by contemporary audiences when the source materials were first written, overcoming what he calls “translation inertia”, the tendency to retain a translation over time even after the sense of the word has changed for current readers. Thus “Lord” becomes “Boss”, and the apostles “apprentices”, changes that allow for a novel understanding of the role of Jesus and of believers’ relationship to him. Also of crucial importance, Hix has eliminated gendered language wherever possible, in the process inventing new terms that decouple our understanding of Jesus and divinity from the limitations of gendered human bodies and relationships. Thus “Son” becomes “Xon”, for example, a form of literary transubstantiation that renders the divine even more transcendent, in the process opening the Gospel and its promise of salvation to greater inclusivity. Gospel, of course, means “good news.” And the very good news of THE GOSPEL ACCORDING TO H. L. HIX  for believers and for non-believers alike, is that what has been called “the greatest story ever told,” the life of Jesus, just got greater.

Incandescent Visions by Lee Hudspeth for review.

Having written numerous works of nonfiction, this is Lee Hudspeth’s debut book of poetry. Incandescent Visions explores the meaning of the human experience, as the author encourages his readers to ponder the universe and their place within it and to catalyze their own creative potential. From the sublime shores of the Mediterranean to the majestic expansiveness of deep space, this book contemplates nostalgia, perspective and the gift of love. Through five short yet powerful, thought-provoking chapters of contemporary poems—and a dash of elegant, evocative haiku—Hudspeth takes his readers on a journey across the inner landscape of struggle, triumph, self-realization, and imagination.

Made of Air by Naomi Thiers for review.

The poems in Made of Air argue for a deeper, more woman-centric definition of courage, a courage borne of the long haul. There are poems on the deaths of loved ones and mothering a teenager. One remarkable sonnet relates how a mother makes a U-turn off a ramp just before a bridge collapses in an earthquake. These poems celebrate the lives of women and girls and commemorate the daily ways they navigate through potential disaster—and come through dancing.

Kim Roberts, editor of By Broad Potomac’s Shore: Poems from the Early Days of Our Nation’s Capital and author of five poetry collections, including The Scientific Method

Naomi Thiers shows women and girls who hold things together. From the “cliff-high condo where we eat” to those sheltering in “a concrete pocket of unremarkable hidden things,” her characters emerge, vulnerable as a flame in a dry season. Like Thiers’ previous collections, her new work transfigures ordinary, “silenced people,” as Tillie Olsen called them, “consumed in the hard, everyday essential work of maintaining human life.” Can we bear to look at who we are now? Thiers’ poetry says yes—and we must, to help each other hold together.

Rose Marie Berger, Senior Editor, Sojourners magazine and author of Bending the Arch: Poems

Naomi Thiers’ Made of Air is a story of courage—or, more to the point, many such stories. It is a chronicle of endurance: the “ordinary women” in the book’s first section endure homelessness, illness, abuse, the murder of their children, and in doing so, become extraordinary. Thiers’ compassion and insight shine through in language that is vivid and luminous. The ending of her poem “Old People Waking” sums up the theme of the entire book: “And if everything hurts, it means / the current is flowing; we hiss inside: / Live. Live.

Miles David Moore, author of The Bears of Paris and founder of the IOTA Poetry Series

Everyone Disappears by W. Luther Jett, which I purchased.

In this follow-up to his earlier chapbook, Not Quite: Poems Written in Search of My Father (FLP, 2015), Luther Jett confronts the ephemeral nature of our lives, the process of grief, and the endurance of memory. Jett draws upon recollections of family, as well as historical events and forces to weave a tapestry of image and reflection. Loss “… comes with the ticking of clocks …” the author reminds us in his title poem, “… and that is why the ocean tastes of tears.” Jett writes of ghostly grandfather clocks that walk in the night, of forgotten toys scattered in an unmown lawn, of the importance and the hidden dangers of holding on to memory. “What can I sing to tell your feast?” Jett asks in the poem “Seamus”, adding in his later poem, “One by One”, “I chant the names of things long after they have gone.”

Maryland’s Poet Laureate, Grace Cavalieri says of Jett’s work: “[N]ever have the dead been more alive …. Subtle and intelligent stories, realized through the power of Jett’s voice, make life appear on every page.” In this time of world-wide pandemic and upheaval, “Everyone Disappears” may take on additional resonance as we grope for understanding in the face of tragedy and uncertainty.

A Promised Land by Barack Obama, which I received as a gift.

In the stirring, highly anticipated first volume of his presidential memoirs, Barack Obama tells the story of his improbable odyssey from young man searching for his identity to leader of the free world, describing in strikingly personal detail both his political education and the landmark moments of the first term of his historic presidency—a time of dramatic transformation and turmoil.

Obama takes readers on a compelling journey from his earliest political aspirations to the pivotal Iowa caucus victory that demonstrated the power of grassroots activism to the watershed night of November 4, 2008, when he was elected 44th president of the United States, becoming the first African American to hold the nation’s highest office.

Reflecting on the presidency, he offers a unique and thoughtful exploration of both the awesome reach and the limits of presidential power, as well as singular insights into the dynamics of U.S. partisan politics and international diplomacy. Obama brings readers inside the Oval Office and the White House Situation Room, and to Moscow, Cairo, Beijing, and points beyond. We are privy to his thoughts as he assembles his cabinet, wrestles with a global financial crisis, takes the measure of Vladimir Putin, overcomes seemingly insurmountable odds to secure passage of the Affordable Care Act, clashes with generals about U.S. strategy in Afghanistan, tackles Wall Street reform, responds to the devastating Deepwater Horizon blowout, and authorizes Operation Neptune’s Spear, which leads to the death of Osama bin Laden.

A Promised Land is extraordinarily intimate and introspective—the story of one man’s bet with history, the faith of a community organizer tested on the world stage. Obama is candid about the balancing act of running for office as a Black American, bearing the expectations of a generation buoyed by messages of “hope and change,” and meeting the moral challenges of high-stakes decision-making. He is frank about the forces that opposed him at home and abroad, open about how living in the White House affected his wife and daughters, and unafraid to reveal self-doubt and disappointment. Yet he never wavers from his belief that inside the great, ongoing American experiment, progress is always possible.

This beautifully written and powerful book captures Barack Obama’s conviction that democracy is not a gift from on high but something founded on empathy and common understanding and built together, day by day.

What did you receive?

Made Priceless: A Few Things Money Can’t Buy edited by H.L. Hix

Made Priceless: A Few Things Money Can’t Buy edited by H.L. Hix is a collection of short essays about items writers have in their possession that they neither bought nor would they sell because they hold a value not measured by the marketplace.  The book pays homage to all that is held dear in today’s society from a time long past waiting to be recaptured in memories to places you can revisit, though the light will be slightly off or the wind will blow harder.  Hix has culled together a series of short essays that demonstrate the beauty we find in the most mundane things from flags to typewriters to playing cards found on the ground.

Contributors to the collection range from writers and poets to bricklayers and flight instructors, among many others.  The book also is broken down into more than 30 sections with titles like “emotionally pervaded,” “moral transactions,” and “No Ideas.”  While the book is in itself a collection, Hix has asked readers to keep the dialogue open and fluid in an open invitation to readers and reading groups to contribute their “object lessons” to his blog; find out more about that project from my previous post.

Since I’m a contributor to the project, I cannot call this a review due to the potential conflicts of interest it would present.  However, I can tell you that I’m pleased that this nonprofit project is published through a nonprofit publishing house, Serving House Books, and H.L. Hix has said he will donate 100 percent of any royalties he receives from the sales of the book, since he simply seeks to spread “wisdom and joy.”

Mailbox Monday #168

Mailbox Mondays (click the icon to check out the new blog) has gone on tour since Marcia at A Girl and Her Books, formerly The Printed Page passed the torch. This month’s host is Diary of an Eccentric.

Kristi of The Story Siren continues to sponsor her In My Mailbox meme.

Both of these memes allow bloggers to share what books they receive in the mail or through other means over the past week.

Just be warned that these posts can increase your TBR piles and wish lists.

Here’s what I received this week:

1.  Made Priceless: A Few Things Money Can’t Buy edited by H.L. Hix, which I received from Hix since I am a contributor.

Made Priceless presents snapshots of objects that their holders treasure: a 1950s swivel rocker, a fortune-cookie fortune that reads “The rubber bands are heading in the right direction” a marble with a world map painted on it, a bread-baking pan, a bar of soap, crocheted doilies, a masonry trowel… Each object has its own story, each its own meaning. The book’s contributors include artists, a banker, a retired career military officer, secretaries, a pilot, stay-at-home mothers, students, professors, and others, each with a testament in praise of something priceless. The result is a remarkable collection that honors what money can’t buy, and celebrates the extraordinary significance in an ordinary things.

2. Restoration by Olaf Olafsson, which the Literate Housewife passed on to me. Thanks so much!

Having grown up in an exclusive circle of wealthy British ex-pats in Florence in the 1920s, Alice Orsini shocks everyone when she marries the son of a minor Italian landowner and begins restoring San Martino, a crumbling villa in Tuscany, to its former glory. But after years of hard work, filling the acres with orchards, livestock, and farmhands, Alice’s growing restlessness pulls her into the heady social swirl of wartime Rome and a reckless affair that will have devastating consequences.

Her indiscretion is noticed by careful eyes—those of Robert Marshall, a renowned dealer of renaissance art. In exchange for his silence, he demands Alice hide a priceless Caravaggio, a national treasure that he has sold to the Germans, at San Martino. As the front creeps toward Tuscany, sending a wave of orphans, refugees, and wounded Allies to San Martino, Alice trusts that the painting she’s hiding will keep the Germans at bay. What she doesn’t know is the truth about a brilliant young artist she harbors named KristÍn, a prodigy who can restore any painting, and whose secrets may ruin them all.

Trapped between loyalists and resistors, cruel German forces and Allied troops, Alice and KristÍn must withstand the destruction of everything around them while painfully confronting the consequences of their past mistakes.

3. The Lola Quartet by Emily St. John Mandel, which came from LibraryThing Early Reviewers.

Gavin Sasaki is a promising young journalist in New York City, until he’s fired in disgrace following a series of unforgivable lapses in his work. It’s early 2009, and the world has gone dark very quickly; the economic collapse has turned an era that magazine headlines once heralded as the second gilded age into something that more closely resembles the Great Depression. The last thing Gavin wants to do is return to his hometown of Sebastian, Florida, but he’s drifting toward bankruptcy and is in no position to refuse when he’s offered a job by his sister, Eilo, a real estate broker who deals in foreclosed homes.

Eilo recently paid a visit to a home that had a ten-year-old child in it, a child who looks very much like Gavin and who has the same last name as Gavin’s high school girlfriend Anna, whom Gavin last saw a decade ago. Gavin—a former jazz musician, a reluctant broker of foreclosed properties, obsessed with film noir and private detectives—begins his own private investigation in an effort to track down Anna and their apparent daughter who have been on the run all these years from a drug dealer from whom Anna stole $121,000.

What did you receive?

I’ve Been Keeping a Secret, But It’s Out Now….

Last year, a poet I interviewed for 32 Poems, H.L. Hix, asked if I would contribute to his blog about objects that are made priceless by how and why they are received/given for his blog project at IN QUIRE.  He published my little “object lesson” in 2011.  I know that some of you may have read it already, but the secret I’ve kept is that H.L. Hix had told me that he had hoped to create a book out of these lessons.  I wasn’t hopeful because it includes something I wrote, and I thought who the heck would want to read that.  But now, I’m coming clean.  The secret and the book are out!

Something I wrote in tribute to my nana (Aune Mullen — 1915-1998) has been published in a book, Made Priceless: A Few Things Money Can’t Buy.

I hope that you will buy this book to support not only this blog and my writing, but also the charities to which H.L. Hix will contribute.

I cannot begin to tell you what this publication means to me and how I feel it honors nana’s memory.  It is more than I could have ever dreamed of or asked for in my lifetime.  I’m glad that it has arrived in my home.  I hope to buy a few copies for my parents and aunts.  I urge you all to do the same because not only is this book important to me and the memories I’ve shared, but to all the other contributors.

Thanks to all of you who continue to support the blog, my writing, and everything I try to accomplish here.

***Updated at 11:40 AM***

If you want a signed copy, you can send a payment to my paypal account savvyverseandwit AT gmail DOT com and I can send you one.

I can get a discount as a contributor from the publisher, so it would $17 with shipping for those of you who are interested!

Interview With Poet H. L. Hix

Welcome to another 32 Poems Blog and Savvy Verse & Wit interview. This time, we have Harvey L. Hix, author of Legible Heavens and other poetry volumes.

1. Not only are you a contributor to 32 Poems, you are also a professor of English at the University of Wyoming. What “hat” do you find most difficult to wear and why?

The teaching, definitely. In my writing, I feel accountable, certainly, but to myself, to standards of integrity that feel as though they come from inside. In my job as a professor, though, I am accountable to the University that employs me (and ultimately to the citizens of the state whose university it is), and — more importantly — accountable to the students. I find those forms of accountability, which feel as though they impose themselves from outside, more difficult.

We live in a world populated by forces that conspire to reduce us to consumers (in which capacity it is crucial that we not think and that we not establish a unique identity), and, rightly or wrongly, I see the university as one of the few counter-forces resisting that conspiracy. Because the responsibility of resistance seems so vast, so far beyond the capacity of any one person to effect, teaching feels very oppressive to me. In the moment, conversing with students in the classroom, it is joyful, almost ecstatic, but as an ongoing fact and a duty, I find it intimidating, even overwhelming.

2. Do you see spoken word, performance, or written poetry as more powerful or powerful in different ways and why? Also, do you believe that writing can be an equalizer to help humanity become more tolerant or collaborative? Why or why not?

I myself have more interest in written poetry, because I want to be able to slow down, to re-read, to find my own path and pace through the work. And I do trust the expanded and clarified logic of the written, the complexity of thought it makes possible, which means that, yes, I think writing can/does invite tolerance and collaboration, can/does advance equality and liberty, in principle, though for various reasons I’m less certain of its doing so in fact. I’m influenced on this issue by Neil Postman’s Amusing Ourselves to Death, by Eric Havelock’s Preface to Plato, and other works.

3. Do you have any obsessions that you would like to share?

My poetry results from my obsessions, but surely the world is a better place if I don’t find any additional ways to enact or announce my obsessions.

To check out the rest of my interview with Harvey, go here. Harvey will tell you about his friendships, how he stays healthy as a writer, his writing space, and his current projects. Check out the 32 Poems Blog while your there, too.

About the Poet:

Recent Poetry Collections include God Bless: A Political/Poetic Discourse, Chromatic, which was a finalist for the 2006 National Book Award in Poetry, and Shadows of Houses, all from Etruscan Press. Translations include On the Way Home: An Anthology of Contemporary Estonian Poetry, translated with Jri Talvet. Other books include As Easy As Lying: Essays on Poetry (Etruscan) and Spirits Hovering Over the Ashes: Legacies of Postmodern Theory.

Honors & Distinctions: NEA Fellowship, KCAI Teaching Excellence Award, and the T.S. Eliot Prize