Poetry Resume:  Robert Lipton

Currently Poet Laureate, Richmond, CA 6/2017-6/2019. 

Poetry Book Publication

 “ A Complex Bravery” published by Marick Press, 2006.

Book blog www.robertlipton.blogspot.com

Review of book in Poetry International, Winter 2008

Book Chapter (non-fiction):  Bearing Witness in the Promised Land.  In:  Live from Palestine.  Live From Palestine: International and Palestinian Direct Action Against the Israeli Occupation Nancy Stohlman (Editor) and Laurieann Aladin (Editor); Preface by Noam Chomsky; Foreword by Dr. Mustafa Barghouthi.  South End Press.  2003  http://www.ccmep.org/2003%20Articles/090203_bearing_witness_in.htm

Selected Publications:

Echo 681, Interbang, Jacaranda Review, Squaw Valley Review (1994 and 2003), King Log, Shades of Contradiction, The Texas Observer, Parthenon West, New Orleans Quarterly (Pushcart prize nominee), Journal of Human Architecture

White Print Inc  (www.whiteprintinc.org/blog/?category_name=rob-lipton)

Quillpuddle, Opium Magazine (opiummagazine.com), Red Wheelbarrow, Southword (Gregory O’Donoghue Competition. )

Workshop experience:

-Weekly poetry workshop leader at the Berkeley Art Center, 1999-2003.

-Previous:  Participated in and helped with the Beyond Baroque weekly poetry -workshop, 1988-1993 (With Bob Flanagan and Mark Robin):  1997-98.

-Organized workshop with Gerald Stern on the current state of poetry, May 1, 2004, Berkeley Art Center.

Fellowship and writer’s colony experience:

- One month fellowship to Vermont Studio Center, October, 2001

- Attended the Squaw Valley Community of Writers workshop  1994 and 2003

- One month fellowship at Ragdale, November, 2011.

- 1st placed poem in the Gregory O’Donoghue Competition 2018 - Tyrone Guthrie Centre poetry residency.

Performance:

-Hosted poetry reading series at Mama Pajama’s Café and vintage clothing store, Los Angeles, 1989-1992.  Leading poets from the region were invited to read in this monthly series. (Bob Flanagan, Viggo Mortenson, Cecilia Wolloch, David St. John).

-Featured Reader: Beyond Baroque, June 1991

-Hosted Poetry evening at the Berkeley Art Center, December 1, 1999.  Benefit reading for the radio station KPFA, among those reading were Jack Foley, Ed Markman, Jennifer Stone.

-Organized Poets for Peace reading at the Berkeley Art Center.  May 1^st, 2004.  Readers included Gerald Stern, Ilya Kamisky, Polina Barskova and Meredith Striker and Robert Lipton.

-Poets for Peace reading participant (September 19^th 2004)  with Maxine Hong Kingston,  Ilya Kaminsky, Peter Streckfus, Fred Marchant, and Dan Bellm.

Funding/arts development experience:

Developing literary arts center (I am  the founding director) at the Berkeley Art Center with Jaime Robles, Robin Henderson and Eliza Schefler of Rhythm and Muse. The center had an on-going reading series, occasional reading programs and workshops, visiting writers and a weekly workshop (which I  lead).  Received grant from the Berkeley Community Arts program and from the Alameda community arts program.  

Book reviews:

Review of boysgirls by Katie Farris, http://poetryflash.org/reviews/?p=LIPTON-Secrets_Almost_Told-FARRIS_boysgirls

Obituary and review of FrancEYE, http://poetryflash.org/blog/?p=20091213-francEyE

References:

Gerald Stern

7 Gracie Square Apt 12-a

NY, NY 10028

Email: geraldstern2003@yahoo.com

Cell: 9098 500 2467

Blurb: “ Lipton’s language is fresh and fiery, full of a strong moral sense that underlies it and causes you to catch your breath on first encounter.  This does not prevent him from using diverse poetic strategies, experiments based variously on traditional forms but only based on them.  His subject matter is sometimes implicit and sometimes direct, but always discovered through the crispest of language.  His poetry is rich; he is a huge talent.” 

Ilya Kaminsky

The Department of English & Comparative Literature
MFA Creative Writing Program 
San Diego State University
5500 Campanile Drive 
SDSU Mail Code MC 6020 
Arts & Letters 226 
San Diego, CA 92182-6020

Email: ik001f@yahoo.com

Cell: 603 548 1305

Blurb for “A Complex Bravery”: “This is the book of childhood, love and war. Lipton’s
poems are a gang that takes no prisoners: his voice is direct, his tone is clear, his diction is ironic—but his irony is earned and felt-through. The manuscript is a book of elegies that refuse to go mourning without at least a little bit of protest. Whatever his loss is, Lipton’s voice's always quirky and alive, always ready to report the world straight to us, without patronizing, for “this battle is parent by parent / and I have homework to do.”

A.   Van Jordan

Collegiate Professor

avjordan@umich.edu

Brian Turner

Sierra Nevada College

MFA Program Chair

 bturner@sierranevada.edu

Review of BoysGirls I did for Poetry Flash

Secrets Almost Told

by Rob Lipton

boysgirls, by Katie Farris, Marick Press, Grosse Pointe Farms, Michigan, 2011, 80 pages, $14.95 paperback, www.marickpress.com.

boysgirls by Katie Farris, a collection of modern myths or extended prose poems, asks questions about the minutiae of enchantment and its attendant quotidian; the small grows large, the strong, lame and the defenestrated literally take wing. She has constructed a chimerical work, more poetry than prose, a disordered mythology, a book of secrets almost told. The language is elliptical yet declarative; the reader is taken into another 'real' not a surreal setting and has no alternative but to attend to this reality. In this setting, for example, the internal dialogue of Satan's reluctant sex partner is brought into focus:

…She turns to leer at the masturbating man; noticing for the first time how lopsided he is—how massive his right arm, how puny his left! He turns away, ashamed by her frank stare. And it is this, this mutual shame, this turning away, which finally moves her.

(from "the devil's face," page 41)

and then we are thrown into the troubled life of a one-winged character:

Still, the women in the town are compelled by him; the rise of his shoulder and cheekbones, his half-winged awkwardness. Imagining only the stroke of feather across skin, her arching back, not the difficulty of cleaning a wing without a beak. …
Times are hard for dreamers, people whisper, watching him. He would like to turn back. Not a dreamer, he would tell them. The dream.

from "the boy with one wing," page 54)

So this is the proposition: titans have good and bad days; Satan's courtiers sometimes are bored and have to fake it, and there are angels with disabilities. Katie Farris will defend the act of creation as always re-creation (an original seven days of re-creation), and perhaps she will allow the enchanted to curse, the remembered to forget themselves or what they have experienced. And this is done through the runes thrown against a wall of the fantastical. We get the girl of reflections being reflective, a girl growing into a craggy mountain and the glorious trope of the inventor of invented things. This involution allows for deflection and grace. There is a one-winged boy/dream that makes love to the girl in the mud and revives the inventor swooning in his re-invention.

The Inventor of Invented Things opens his eyes, finds himself cradled in the Boy's One Wing. He does not consider the implications of his momentary unconsciousness, does not ask the gravitational consequences of his weight on the boy's hollow bones, does not question the curious melanation of the Boy's eyes. He feels only what he feels. The Inventor has not invented this. What is this?

from "the invention of love," page 62)

There are riddles posed to the characters, to the reader, to the necessarily unreliable narrator/author. For Farris there is fairy tale horror in coming of age, different for girls and boys. The girl deals with becoming a reproducing woman, the boy with sorting out what and how to love. The father cradles the son and vice versa. The writer searches for memory, real or imagined, and invents new myths from old, Icarus and Daedalus both alive and dealing with some aftermath. Too close to the sun, too close to a son, there is a transubstantiation, and we speak to one absolute, the palimpsest, the always erased as the only thing that endures. So, the author has brought us to our ends and beginnings, all the kisses and unpleasant partings, the move from child to adult, from ignorance to knowing to ignorance. Katie Ferris will lead you. It will never be to where you think you are going or want to go, but you will need to go there, even to the precipice.

Rob Lipton is a spatial-epidemiologist at the University of Michigan. His recent poetry book is A Complex Bravery.

http://poetryflash.org/reviews/?p=LIPTON-Secrets_Almost_Told-FARRIS_boysgirls

Book Review from Grosse Point News

Review of "A Complex Bravery" by Alexander Suczek columnist for the Grosse Pointe News, Michigan


To read the collection of poetry by Robert Lipton, titled “A Complex Bravery,” is to scan a panorama of the poet’s life. Here are impressionistic vignettes of childhood, his mother and her disability from a stroke, his father, love, lust, and war. Yet, inherent in the poetic imagery there is more. Like the artist whose paintings intensify the scene represented on canvas with sharp outlines, exaggerated shapes and enhanced color, Lipton reduces his verbal painting to the essence of his experiences. He concentrates the emotional power much as a chef reduces his sauce to a stunning intensity. He dramatizes his concepts with sharp and often brutal and satirical contrasts.
Lipton represents a man of conscience, aware of the harsh features of contemporary life that threaten well being and happiness.
…the heavy fog of marijuana
smoke like a comforter
kept me in the curve
of the futon couch.
I glanced back at the TV
With the illegal cable box
Which obscured the 20,000 dollars
Of freshly harvested weed
Glistening in the Steuben crystal pitcher,
Caught myself wondering about the severity
Of the fine for dicking with cable,
Telling my brother it was just the local
Crows playing with the fat tabby;
The crows knock against the aluminum
Siding force the cat to skid its butt
Against the planters lined up
Like congregants waiting for communion…

He does not surrender to the harsh side, however. He is just supremely aware of it and reports it as he sees it with utter frankness and eloquence.

…I will casually leave out my inarticulate screaming
At the 80-year-old woman who brings me lukewarm
Turkish coffee, or my fits of vomiting when I hear
The F-16s dive into another bombing run,
No I will give you acts of overcoming
Rising from my weakness to pull a child
Out of harms way.
Large caliber bullets ripping at me as we run
Each moment broadening into a chapter
Of my new poetry book
I will make my troubled sleep
Turn into something as deep as shrapnel
Buried in the wall of a children’s center.
I will see colors more vividly
As if I have the eyes of a thousand parrots
Smell cinnamon in the breath of all people
Not blood dried to a fine red dust.
I will tend lovingly to the family of the dead;
Embarrassing in this exsanguinations
My cowardice is sealed here…

Tender and loving moments are reinterpreted through cruel realities of the modern world. Nobility and crudity mingle both artistically and realistically. The impact is startling and memorable, but reassuring, too. The approach is reflected in his lines: “Hope is a relay event and you will be handing off, soon.” Or in a recollection of his mother.

…I remember Mom filling my own tin
Batman box with baloney sandwiches
And stringed potato crisps.
This is the world Mom allows me,
She prepares the plastic-wrapped cookies
And thermos of milk as carefully as a Noh
Actor crying in silence.
This where I keep my mother’s love.

But he also expresses veiled outrage with effective irony when faced with a reality that cries out for restorative leadership.

…I wasn’t the boy shot through the hand
as he walked along Sal-hedin street
idly brushing his fingers against the concert market stalls.
His hand, not mine
Would sometimes throw rocks at the tanks
Smoking up the streets near the school…
…It is not my blood running out of my mouth
and it is not my smile stuck to my face
like a paper donkey’s tail.
I am still telling this story
An insightful, and more to the point, living narrator
Who lets you believe death
Is for someone else
In some other place.

Lipton reports the world, his world, his life, as he finds it with a distinctive and highly expressive style. This collection of more that 50 vignettes express a very true to life array of the tragedy and comedy that pervade our world today. It is stimulating and thought provoking reading with the added zest of needing careful re-examination and re-reading to find the truths hidden in every figure of speech.

Sharon Dubiago's thoughts on "Complex Bravery"

Rod Lipton’s poems are “like a wind/blowing through a
bombed-out house” and he knows “who that bomber is.”
He writes from the consciousness of the bombed and
“the living narrator.” World weary, grieving,
cynical, ironic, raging, from the real to the surreal,
A Complex Bravery is of the drek of our world gone
mad, “the features of erotic despair.” “This is where
I keep my mother’s love.” But “[e]ven after all
this/there is singing about paradise.” “Not Me in
Nablus” is one of the important poems of this era.
Sharon Doubiago, Hard Country, Body & Soul, etc.

A note on Complex Bravery from Ilya Kaminsky

This is the book of childhood, love and war. Lipton’s
poems are a gang that takes no prisoners: his voice is
direct, his tone is clear, his diction is ironic—but
his irony is earned and felt-through. The manuscript
is a book of elegies that refuse to go mourning
without at least a little bit of protest. Whatever his
loss is, Lipton’s voice's always quirky and alive,
always ready to report the world straight to us,
without patronizing, for “this battle is parent by
parent / and I have homework to do.”

The battle begins in childhood with teenagers who “had
kittens / and large noble gas filled balloons” and “
would tie the balloons / with hemp twine / to the hind
legs of each / kitten and release the completed /
unit.” We watched, the author says “We watched / as
long as we could.”

Mother is a heavy presence in this book. The speaker’s
relationship with her is that of almost unrequited
love – passion, contempt, adoration, pity. And, yes,
irony. Irony, in Lipton’s hands turns into something
different than a mere device used by many of his
contemporaries. Searching to define himself, Lipton is
writing his family poems in style and time of what
must be now the fourth or fifth generation of
first-person narrative confessional or
post-confessional (or whatever you wish to name it)
poetry. And yet, something is utterly different in his
own brand of it. This is not your regular “Shit
happened to me when I was a kid. I healed. I write to
you about it now” kind of a poem. Instead, Lipton
seems to tell us: “this is what life is like in
America today, in a private family unit in the middle
of suburbia; I give you this life on a page; you do
with it what you want”. This sort of honesty of
narrative action in itself becomes larger than simply
one man’s story.

In the best poems (“Water Shed, Step Mommy,” for
instance), Lipton exposes “the grammar and discipline
of boredom” of contemporary American life. But in it,
he is also able to find passion (“This is the
iconography I can worship on all fours “) of tone. And
as far as his tone is concerned, Lipton rarely
hesitates. His portraits are both surreal and
strangely realistic. His characters clearly over-react
(“He would have shot / his dick off/ shot grandpa's
dick off/ an entire platoon/ of grandpas’ dicks”),
they turn into symbols (“A complex bravery/ lighting
him /like a Christmas tree), and yet they remain
strangely, grittily recognizable and believable. We do
not doubt their pain; we know it. Our “knowledge” is
dependent on his honesty of tone, yes—but also on the
angle from which his visual camera moves. Thus, we
observe his mother, a victim of stroke, the way she
would observe herself: “noticing her food like a poet/
her one good hand elegant in its motions / her frozen
right side, watching.” There is a certain sense of
foreknowledge to his remembering. He does not just say
“this happened” – he says: “I am given 75 years to
escape / while Grandma Lena bakes / chocolate chip
cookies / with walnuts in a kitchen / stage left.
Audience members / are allowed a bathroom break /
although no one leaves.” Indeed, no one leaves.

For the fun is just beginning. What we first thought
was a collection about the lost childhood is suddenly
a sequence of pieces on love and war. Here you meet
gorgeous “Doña Margarita” who (as the narrator tells
us) “finds a female scorpion in my shorts / cuts it in
half with a garden shovel. / Pressing the subjunctive
I tell her / that unlike tomorrow / this will be the
best of all days.”

In this wonderful sequence of love pieces—including
“False Analogy,” “The One Who Answers the Door,” “Food
Instead of Allegory”—Lipton introduces us to “the
woman who you want to see / is wearing a bird /
walking on pumps made of dictionaries / where all the
adjectives / have been transformed into "yowsa". And
then, after a dozen or so lines, we learn:

This is the official story:
the man will recount his flavor
the dictionary will find a poet
and the bird will be shot from the sky.

A poet of love, quirky, playful, ironic and tired but
tender, he admits: “I want her without the words,
without the headache of attaching myself, like
successful breading to chicken…. I am afraid of such
facile connections.” Why? Because

“we do not cook the way we make love
we do not thrill to the simple strips of similarities
that bind, unbind and flour is not a film of sweat
earning its presence, its purity
by the rubbing together of our skin
the clear failure, the features of erotic despair.”

This is the point of emotional desperation where irony
turns into wisdom. This sense of wisdom is deepened
further in the book by a different sort of
desperation: that of a man witnessing the modern
warfare. To understand its depth, the following poem
needs to be quoted in full:


Shaheed

His picture was pasted to the living room wall
The mother smiled with her daughter on the couch
Omar ate pita and chicken with Zatar
I stared at the 50 caliber machine gun holes

The mother smiled with her daughter on the couch
The Merkava tank gunned its engines, spewing smoke
I stared at the 50 caliber machine gun holes
Omar said his brother was too young to blow up

The Merkava tank gunned its engines, spewing smoke
A parakeet twittered by the kitchen door
Omar said his brother was too young to blow up
The mother was crying as her daughter sang

A parakeet twittered by the kitchen door
The soldier was coming up the stairs
The mother was crying as her daughter sang
He was young, about the same age

The soldier was coming up the stairs
A Tom and Jerry cartoon was going manic on TV
He was young, about the same age
We all watched the mouse smash the cat with a nailed
club

His picture was pasted to the living room wall”

Yes, at this point, the irony of this collection comes
to the full emotional circle. The private voice
witnesses the utterly public events. The Jewish man
who grew up—before our eyes, as the book proceeded—in
contemporary America, now faces the realities of
occupation in the Middle East. The narrator who
struggled to define himself throughout the book, now
at the book’s end is suddenly able to define himself
by what he is not:

Not Me in Nablus

I wasn’t the boy shot through the hand
as he walked along Sal-hedin street
idly brushing his fingers against the concrete market
stalls.
His hand, not mine
would sometimes throw rocks at the tanks
smoking up the streets near the school.
…and how could I be my uncle
hung by his feet in Ariel
until blood bloated and blushed his head.
nor am I the blasted body of a mother
cut in half by her bedroom door
as soldiers triggered a shaped charge.
The differences are obvious

My hands are whole
and I use them to make Italian pastry chefs
British pensioners, and French jugglers laugh
at my pantomime of soldiers hiding in tanks
shooting at my friends with shirts on their heads.
….and it is not my smile stuck to my face
like a paper donkey’s tail
I am still telling this story
an insightful, and more to the point, living
narrator.”

If Robert Lipton can define himself by what he is not,
then perhaps we in today’s comfortable America should
be defined--and even judged--by what this poet has
seen in the war-torn areas of the world. He tells us
what he wanted, and what he saw: “I wanted a blessing
for the children / I saw burning tires by the burned /
out VW on the street in Ram Allah / where army tanks
marked the road / …the stoning was casual.” But he
wanted blessings. The poet always wants blessings.
Bless him.