WEBVTT 00:00:00.000 --> 00:00:01.720 align:middle line:90% [APPLAUSE] 00:00:01.720 --> 00:00:03.872 align:middle line:90% [INTERPOSING VOICES] 00:00:03.872 --> 00:00:08.840 align:middle line:90% 00:00:08.840 --> 00:00:10.980 align:middle line:90% Instead of Alicia, you get me. 00:00:10.980 --> 00:00:14.120 align:middle line:90% But I won't be long. 00:00:14.120 --> 00:00:19.120 align:middle line:84% In the poem that prefaces her recent collection, The Holy 00:00:19.120 --> 00:00:22.240 align:middle line:84% and Broken Bliss, Alicia Ostriker 00:00:22.240 --> 00:00:27.760 align:middle line:84% closes with words of moving counsel to her author surrogate. 00:00:27.760 --> 00:00:30.140 align:middle line:90% Write if you can find words. 00:00:30.140 --> 00:00:34.220 align:middle line:84% Write what you are afraid to write. 00:00:34.220 --> 00:00:36.680 align:middle line:84% Step over the lintel through that door. 00:00:36.680 --> 00:00:39.240 align:middle line:90% Write or die. 00:00:39.240 --> 00:00:43.200 align:middle line:84% No need to recognize the matrilinear allusion 00:00:43.200 --> 00:00:47.720 align:middle line:84% to HD's late life volume Hermetic Definition 00:00:47.720 --> 00:00:51.480 align:middle line:84% to appreciate the courage marshaled and the wisdom 00:00:51.480 --> 00:00:54.680 align:middle line:90% shared in that opening poem. 00:00:54.680 --> 00:00:57.600 align:middle line:84% For me personally, however, such lines 00:00:57.600 --> 00:01:01.280 align:middle line:84% resonate literally throughout my career. 00:01:01.280 --> 00:01:05.920 align:middle line:84% As a doctoral candidate in the 1980s here at University 00:01:05.920 --> 00:01:10.240 align:middle line:84% of Arizona, I drew on the feminist poetics in Stealing 00:01:10.240 --> 00:01:16.460 align:middle line:84% the Language and Alicia's notion of revisionary mytho poetics 00:01:16.460 --> 00:01:18.980 align:middle line:90% as I wrote my dissertation. 00:01:18.980 --> 00:01:22.820 align:middle line:84% I was soon following and also teaching her work, 00:01:22.820 --> 00:01:24.820 align:middle line:90% which I do to this day. 00:01:24.820 --> 00:01:29.900 align:middle line:84% I taught both her capacious poems and feminist poetics, 00:01:29.900 --> 00:01:34.660 align:middle line:84% inviting her for readings and class visits when I could. 00:01:34.660 --> 00:01:37.300 align:middle line:84% Those lines I quoted earlier contain 00:01:37.300 --> 00:01:41.040 align:middle line:84% counsel she gave my students decades ago. 00:01:41.040 --> 00:01:46.780 align:middle line:84% And they, some of them tell me, pass on that counsel 00:01:46.780 --> 00:01:49.700 align:middle line:90% to their students to this day. 00:01:49.700 --> 00:01:53.820 align:middle line:84% Write what you are afraid to write. 00:01:53.820 --> 00:01:57.620 align:middle line:84% As a late poet and UVA alumnus, Tony Hoagland, 00:01:57.620 --> 00:02:01.660 align:middle line:84% concisely put it in an essay on Alicia's poetry, 00:02:01.660 --> 00:02:07.340 align:middle line:84% no one quite equals her ability to unite rawness and erudition 00:02:07.340 --> 00:02:09.139 align:middle line:90% in her work. 00:02:09.139 --> 00:02:12.980 align:middle line:84% Twice finalist for the National Book Award, recipient 00:02:12.980 --> 00:02:16.860 align:middle line:84% of fellowships from the NEA, the Guggenheim, and Rockefeller 00:02:16.860 --> 00:02:19.620 align:middle line:84% foundations, she served as chancellor 00:02:19.620 --> 00:02:23.660 align:middle line:84% of the Academy of American Poets and as the New York State poet 00:02:23.660 --> 00:02:24.400 align:middle line:90% laureate. 00:02:24.400 --> 00:02:28.390 align:middle line:84% It in these tragic times, I am reminded 00:02:28.390 --> 00:02:31.230 align:middle line:84% of Alicia's poignant words about the necessity 00:02:31.230 --> 00:02:35.350 align:middle line:84% of remaining life affirming in the face of horror. 00:02:35.350 --> 00:02:38.430 align:middle line:84% To the famous declaration of Adorno 00:02:38.430 --> 00:02:41.830 align:middle line:84% that there can be no poetry after Auschwitz, 00:02:41.830 --> 00:02:44.710 align:middle line:84% a possible response, and this is Alicia, 00:02:44.710 --> 00:02:48.470 align:middle line:84% is that there must be poetry after Auschwitz. 00:02:48.470 --> 00:02:54.590 align:middle line:84% No surrender to powers that destroy humanity. 00:02:54.590 --> 00:02:59.230 align:middle line:84% Alluding to the influential teachers of Talmudic ethics, 00:02:59.230 --> 00:03:02.990 align:middle line:84% she tells us that the struggle can neither be won 00:03:02.990 --> 00:03:05.310 align:middle line:90% nor abandoned. 00:03:05.310 --> 00:03:08.030 align:middle line:84% I marvel at how in the austere lines 00:03:08.030 --> 00:03:12.230 align:middle line:84% of holy and broken bliss, fury, despair, 00:03:12.230 --> 00:03:16.390 align:middle line:90% grief are alchemised into truth. 00:03:16.390 --> 00:03:21.270 align:middle line:84% No comforting illusion survives her searing inquiry. 00:03:21.270 --> 00:03:26.910 align:middle line:84% No weariness serves as excuse for surrendering the life force. 00:03:26.910 --> 00:03:31.830 align:middle line:84% And no fear stops her from going to the heart of it all. 00:03:31.830 --> 00:03:34.970 align:middle line:84% Please join me in welcoming Alicia Ostriker. 00:03:34.970 --> 00:03:37.500 align:middle line:90% [APPLAUSE] 00:03:37.500 --> 00:03:38.000 align:middle line:90%