WEBVTT

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If you have a question,
raise your hand.

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I will come to you.

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That includes for outside.

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I'll try to see through the
reflection in the window pane.

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I love that you're outside.

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You make me happy out there.

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Any questions?

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Hi.

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Thank you so much.

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Would you say a little
bit about Antarctica

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and how it occurs in your poems?

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Yeah, it is a lot.

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It shows up a lot.

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It shows up twice in Smith
Blue, and then that trip.

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In 2008, my father
retired, and he

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got himself a trip to Antarctica
on the National Geographic

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Lindblad Expeditions trip.

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And my mother gets
really seasick.

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And so she was like, I am not
going on the Drake Passage.

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And I was like, well,
you can't go alone,

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someone has to go with you.

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So I got to go on the trip.

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And it was--

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Antarctica is a
place to be if you're

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a person who can't
stop paying attention

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because the sun never sets.

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And you can't--
like I like just--

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and the landscape is
just so different.

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And I just could
not not be looking.

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And I just took notes
and notes and notes,

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and I would stay up like insane.

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You remember that movie Insomnia
where the guy just never slept?

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Like I was that
person with a notepad,

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just taking all these notes
about this landscape that was

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so-- it was just so different.

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I would gauge things wrong.

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I kept thinking that the
mountains were giant,

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like they were 14--

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or they had to be
fourteeners because they

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were all just like snow.

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But it's like this--

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it's like we're way
below the tree line--

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above the tree line, right?

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That's why there was
all snow peaks because--

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and they were like 2,000 feet.

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And it's like they're
not very high.

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But they look to me like what I
understand 14,000, and 15,000,

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and 16,000-foot peaks to look
like because of the way that

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the snow was on them.

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And that kind of thing,
I was like, oh, wait this

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is our planet.

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And I'm having to completely
readjust everything

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that I know.

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Also when you have
bad allergies like me,

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Antarctica is amazing because
nothing could grow there.

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And I was super healthy.

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It was awesome.

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I don't think McMurdo
Station would be like that.

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I think it would just be filled
with all kinds of human gunk.

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So I'm not necessarily
going to go there.

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Just in the sense of
perspective change,

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though, in 2013 and 2014, I was
able to go to Southern Africa

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a couple of times--

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Namibia, Zimbabwe, Mozambique.

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And what I found there was
that I kept being like--

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I'm driving across the nation
of Namibia, and I'd be like,

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oh this looks like Lubbock,
this looks like Long Beach,

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this looks like Riverside.

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Like it just looks so much
like Texas and really like

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lots of parts of California.

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And then I had to just
do the opposite thing.

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I'm like, I am in Namibia.

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Like I am not in So Cal.

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Leave that alone.

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And that opposite sense
of this feels so familiar

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that I'm being lazy
in my attention

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and not paying
attention, like that was

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the opposite of the
Antarctica thing,

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where I was like it's so--

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I have no perspective,
and so I'm

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going to give wrong details.

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So anyway, that's how
Antarctica happened.

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And I took tons of notes.

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But I really did get
back to the notes

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because I was looking for
the Antarctic seabird ticks

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and then--

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you should journal.

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Everybody should journal.

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Journaling is very important
for being a writer.

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What else?

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Back of the room.

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Thanks so much.

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So you talked about just
grief coming into your poems.

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And also one thing I
know about your work

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is you just have this
amazing command of history

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and just so many facts.

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How do you balance--

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I think your work is
so beautiful and so

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full of amazing details and so
much in love with the world.

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I think how do you just
balance all the information

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in your head when you sit down
to write the poem kind of thing

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and just knowing
versus grief and love?

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Yeah.

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Well, I guess you don't really
have a command of history,

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particularly as
it is represented

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in America, without having
an intimate relationship

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with grief, all right?

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I feel like-- but I also
feel like you can't really--

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we can't understand where we are
in this moment-- we certainly

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can't understand where
we are this moment,

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this political moment,
without understanding history.

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I keep reminding people
that the whole reason

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for the electoral college
was so that a whole bunch

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of Southern slave owners could
have more vote and more power

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because there were
fewer of them,

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and they wanted more power
and control in their election.

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And it's still working.

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So the way that
historical legacies that

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are built on exclusion and
the pain of certain parties

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who don't get their
voices continues

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to affect how we look
forward into the future.

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And so I just feel
like as a writer,

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isn't that part of my job?

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Part of my job is to
help to consolidate

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all this information that
is all over the place

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and overwhelming and
seemingly disparate,

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but also to make
these connections

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and to point out the ways that
they are not so disconnected.

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In much the way
that when we really

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understand ocean
systems, we learn

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that what happens over Hawaii,
it affects the storms that

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are happening in Seattle,
and way down in Peru,

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weather in Peru is drawing
down all the cold or hot water

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in the currents,
and there's going

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to be very different
currents in Juneau, Alaska.

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These are all
directly connected.

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We are all directly
connected to everything.

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And so I think in poetry,
I'm doing that same thing.

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And I'm saying so the
history of what we did there

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when we built that sand dune--

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a change is the history of how
this house can stand or not

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stand in this place.

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And isn't-- like let's talk
about the filigree on the gable

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in that house, too,
while we're at it.

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Like it's just-- it's
also how my brain works,

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but I find it part of my
role as a writer is that--

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maybe it's like a
version of didacticism

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made as pretty as I
can possibly make it

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and as appealing as I
could possibly make it.

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Thank you.

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Thank you for that answer
or for doing that work?

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[LAUGHTER]

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We've got time for one more.

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We'll do two more because I saw
those hands at the same time.

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The two hands, yeah,
it was like a tie.

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How much of your
discovery and embrace

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of all of the
interrelatedness of life

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do you think you gain through
the process of writing poetry?

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Wow!

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[LAUGHTER]

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Yes.

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[LAUGHTER]

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I think it honed it.

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I mean, I think I
always thought that way.

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But I think that
writing poetry honed it.

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I think the first book I
had really small poems.

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And it was like--

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they're all little
sonnets, 14-line poems.

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And I could be like, OK, I
can pull these ideas together,

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and I'll write another poem, and
another poem, and another poem,

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and I'll do that 52
times over and over.

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And then as I've
developed as a poet,

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the poems get longer and longer.

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And now I'm writing essays.

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And so I'm just like,
who knows what's next?

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Maybe next time I
could actually write

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a real memoir, like not a
bunch of linked essays that

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become a memoir, but like a--

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whew, that sounds scary.

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So I think just
with time, you learn

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how to work those tools
with more stamina.

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But I think also it was also
innately maybe already there.

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Question number two.

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I'm just wondering--
like you're kind of

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at the apex of Camille Dungy.

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I hope not.

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I mean in a way--

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Because I haven't won
all the prizes, Aisha.

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There's three more
I'm waiting for.

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At this moment, at
this very moment.

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And I'm just
wondering how it all

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developed from when you
were a kid, like what

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you were interested in, and
when poetry came in, and?

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Poetry's always been
part of my life.

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My grandmother was a librarian.

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My family believed
in literature.

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I lived for some time
in Iowa City, Iowa,

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where writers are
just people who

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need dry cleaning
and babysitters

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and are normal people.

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And so that's important,
to be a young writer

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and know that writers
live, and walk,

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and tell you boring stories
at the grocery store.

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And so-- and so
that was part of it.

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And then when I went
to college, I just

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realized that there
were ways I could--

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I thought I was going to be
a physician because that's

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what you do, and then
you write on the side.

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But basically that's
what Ethan Canin does.

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Most of us are--

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we have to make a decision
whether we're going

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to be physicians or doctors.

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And so I just decided
that that was where

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my attention was going to be.

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And so that-- it was definitely
sophomore year in college

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that I can mark as
the moment where

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I said, all right, that's
the track I'm going to be on

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and I'm going to dedicate it to.

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But then you got to re-- you
got to renegotiate that contract

00:09:58.870 --> 00:10:01.330 align:middle line:90%
on a regular basis.

00:10:01.330 --> 00:10:03.100 align:middle line:84%
That sweet girl I'm
trying to write about,

00:10:03.100 --> 00:10:06.250 align:middle line:84%
I don't write about her right
now because every time I

00:10:06.250 --> 00:10:08.380 align:middle line:84%
try and wake up before
her, she's like--

00:10:08.380 --> 00:10:11.680 align:middle line:84%
20 minutes after I wake
up, she's like, OK, mom.

00:10:11.680 --> 00:10:15.070 align:middle line:84%
I've gotten as early as 5:30,
and then I was like, forget it.

00:10:15.070 --> 00:10:18.070 align:middle line:84%
I just-- I guess
this is just going

00:10:18.070 --> 00:10:21.730 align:middle line:84%
to be a quiet time in my life
because I'm not getting up

00:10:21.730 --> 00:10:24.370 align:middle line:84%
at 4:30 in the morning to try
and beat her and then have her

00:10:24.370 --> 00:10:26.590 align:middle line:90%
show up at 4:45, right?

00:10:26.590 --> 00:10:28.180 align:middle line:90%
I'm not doing it.

00:10:28.180 --> 00:10:30.370 align:middle line:84%
And so that just means
the new renegotiation.

00:10:30.370 --> 00:10:31.810 align:middle line:84%
It means I have
to figure out how

00:10:31.810 --> 00:10:38.740 align:middle line:84%
I get that work done when my
life isn't accommodating it.

00:10:38.740 --> 00:10:41.530 align:middle line:84%
But the work has to happen, and
that's-- just keep doing that

00:10:41.530 --> 00:10:42.130 align:middle line:90%
in your life.

00:10:42.130 --> 00:10:46.891 align:middle line:84%
You just have to recommit
in different ways.

00:10:46.891 --> 00:10:48.342 align:middle line:90%
Camille, thank you so much.

00:10:48.342 --> 00:10:50.800 align:middle line:84%
I'm personally so glad that
you're a poet and not a doctor.

00:10:50.800 --> 00:10:52.624 align:middle line:90%
[LAUGHTER]

00:10:52.624 --> 00:10:53.536 align:middle line:90%
I'm being selfish.

00:10:53.536 --> 00:10:55.750 align:middle line:84%
Thank you so much
for being here.

00:10:55.750 --> 00:10:56.350 align:middle line:90%
Thank you.

00:10:56.350 --> 00:10:59.700 align:middle line:90%
[APPLAUSE]