Here are the two courses tracks that I could be taking:
CSE 6040 – Computing for Data Analytics
ISYE 6501 – Introduction to Analytics Modeling
MGT 8803 – Introduction to Business for Analytics
CSE 6242 – Data and Visual Analytics
MGT 6203 – Data Analytics in Business
ISYE 7406 – Data Mining and Statistical Learning
ISYE 6413 – Design of Experiments
ISYE 6669 – Deterministic Optimization
ISYE 6644 – Simulation
ISYE 6650 – Probabilistic Models
** or **
CSE 6040 – Computing for Data Analytics
ISYE 6501 – Introduction to Analytics Modeling
MGT 8803 – Introduction to Business for Analytics
CSE 6242 – Data and Visual Analytics
MGT 6203 – Data Analytics in Business
CS 7641 or CSE/ISYE 6740 – Machine Learning/Computational Data Analytics
ISYE 6413 – Design of Experiments
ISYE 6669 – Deterministic Optimization
CS 6400 – Database Systems Concepts and Design
CS 7450 – Information Visualization
When you read an account of how someone describes the highs and lows of their existence in their early 20s it tells a lot about their character. Most people are trapped in the pursuit of selfish interests, a good job, obtaining good housing and a lover to share their time with. There is nothing wrong per se with such pursuits, however often there is no balance and actions to promote community development is ignored.
Angela Davis: An Autobiography is the inverse of this typical selfish pursuit of happiness, one informed by an insightful political and philosophical recognition that as long as historically repressed and exploited communities in the U.S. were politically and economically marginalized that she, as a black woman, would always be a second class citizen if not de jure but de facto. The personal narrative that frames it makes this book something beyond a jeremiad against American Society. Instead she describes how her hopes, dreams, and aspirations along with most others with dark skins were unable to follow through on them due to the oppressive ignorance of numerous Whites.
For many years Angela Davis studied under the German Marxist Philosopher Herbert Marcuse in Europe and in California. Distinguishing herself as a serious scholar in her field, she obtained entry into prestigious study abroad programs that placed her in the center of radical student life in Europe – an important connection for subsequent speaking engagement in support of legal defense fees – while also studying historical materialism. Her engagement with historical materialism, or the philosophy of Marxism-Leninism, combined with her desire for a practical outlet for her education besides being a professor is what drew her to become a member of the Communist Party USA.
Davis likes to conclude some of her anecdotes with a “lesson learned” message advocating steps to increase political awareness, make cadres function better, etc. There’s not enough of them where it reads like anecdotes mixed with catechism, but they do open up what I thought was a number of ambiguities and contradictions. In her description of working with SNCC and other parties, for instance, she claims that certain Black Nationalist groups are overly fixated upon the nationalist question, are unduly critical of socialism as a “white man’s thing” and the need for working with like-minded people. However these criticisms are said in such passing that they offer little in the way of political education to those uninitiated in the debates surrounding these and other topics.
One of the recurrent narrative elements of all of the Black Panthers stories is their arrest by police and being charged with crimes that courts of law subsequently are determine to not have been committed by them. Huey, Assata, the Panther 21, many others. Escaping with years of their lives in jails makes them a lucky one. George Jackson, for example, was killed while serving time. The prison guards staged a riot and shot him down. His death greatly affected Angela. They had formed a romantic relationship through their letters. While not able to make their affections physical, I found the connection evident from reading his letters mentioning her and her reactions here to be very compelling.
Marxist Paul Saba published a highly critical review of the autobiography in the first issue of Class Struggle magazine, stating that class which Davis praises the most and adopts is that of “…the liberal wing of the bourgeoisie, with firm reliance, not on the working class, but on the liberals, the intellectuals, lawyers and professors. This is combined with the condemnation of any movements among the people which base themselves on class struggle rather than the capitulation of the revisionists.” Considering the large amount of the book which is devoted to praising legal professionals and uncritically describing her academic studies with Herbert Marcuse, that the CPUSA has largely foregone working class and African-American struggles I think that this is a fair assessment. I think the criticism is, however, unduly harsh. While I’d agree to an extent with Saba’s claim that there’s a fair degree of distance between her and African-Americans generally – a result of her education and class privilege stemming from her profession – I think the book does great service to showing the traps and barriers faced by radical activists. One can certainly think that more should be done while still respecting the effort. Rather than performing the same old song and dance about the correctness of one’s foundation of political action, as Saba does, in order to claim theoretical superiority – I think it’s better to praise the exemplary courage and determination to better the world despite the risks inherent to one’s life and liberty. This perspective, critical but also respectful, seems to me to be on display in Shepard Fairey’s poster below.
Final note: Those preferring to read the book digitally can find a free copy here.
A former Black Liberation Army member that has obtained political asylum in Cuba for perceived lack of evidence for crimes connected to the murder of two police officers, Assata Shakur is a polarizing figure. She is still wanted by the FBI and talk of her possible return to America was discussed between respective nations bilateral trade meetings leading to online talk of her spiking to numbers not seen since legal defense committees received donations in her name for other sham trials in the late 1960s. Assata was one of many black political and cultural activists that were falsely imprisoned for hours to years based upon the whims of the judicial system. The Autobiography of Assata Shakur memoirs describes the evidence against her, the conditions of her trial, penetrating and poetic social insights, her treatment in the prison as well as her socialization with white communities under Jim Crow, her work with the Black Panther Party, etc. It is, another word, wonderful for touching on so many of the important issues of that epoch.
At a young age Assata describes herself as being very sensitive to the Jim Crow conditions which she grew up under. She tells of the isolations of being unable to play with neighborhood children because of her families purchase of a home in a white community. She describes how the low level of intellectual abilities that her classmates first had for her. Later she will also describe in detail her close relationship to two of the five young girls killed in a church bombing that happened a short distance from her childhood home.
Yet her anger is not without a certain sense of revolutionary irony. Revolutionary as while recognizing the seriousness of the situation – racially informed class oppression – she is also able to recognize the base absurdity of its claims and the essential precariousness of the various power allegiances keeping it together. For example she describes going into a shoe shop in Montgomery with her friend as a young teen. A white clerk and overweight customer look at her in red-faced anger and terror quickly take on a tone of deference granted as they speak with a French affectation and claim to be from the Martinique. They are Caribbean, the social thought of the day went, therefore exotic and ergo not black. They are conversed with by the staff as they try on shoes. Assata, at the time named Josephine, speaks in her best accent and finally breaks character. The initial angry attitudes return, however the girls can’t stop laughing. Now speaking in plain English, as they leave the store, she calls the people present out for their bigotry. There are many poetic turns of phrase and local color captured in these and other exchanges, all of which is to sound please but be immoral. Given these exclusionary experiences it is no wonder that she begins to have increased involvement in black nationalist cultural and political networks and organizations.
What makes this such a compelling book is not just the everyday heroics that comes to be displayed but also it’s structure. After childhood and arrest are covered the structure shifts to a back and forth between a horrifying depiction of what life is like in jail and narrative of her work as an activist. First one starts to become painfully aware of the cruelties of the treatment afforded her because she was a political prisoner, such as being forced to live in an isolation room for 21 months on end – a practice which was only stopped after a long struggle to get an independent investigator of the court to verify Assata’s claims. Following this Assata describes her work at a Black Panther Party breakfast program for children. She would wake up at 4am in the morning and cook for all of the children and come up with various educational programs for them to help get in the learning mood before going to school. She describes the paranoia and fears of briefly having to live an underground life as she’s just discovered that she’s again being promoted in the media as responsible for a crime that she’s not committed. And what helped her face such COINTELPRO actions? Her good skill set was recognized and she was promoted to New York to help the Party be more efficient.
Assata’s autobiography is good not only for the above, but she also reminds the reader that there were many others targeted for assassination, observation, infiltration, and social subversion through ruses, rumors, and other sorts of intelligence campaigns designed to delegitimize and destroy trust. She names three people that were connected to high ranking members of the Party that were used in FBI conceived plots to entrap or bring harm to Members. She is not, however, wholly uncritical of the Party. Some of the members are upbraided for their misogyny when she first arrives in New York. She eventually left the group as she found Newton’s ideology to be incompatible with her own, as she thought they needed to have less of a focus on the thoughts of a greater leader and more information on black history. Certainly anyone seeking to learn about black history is well served by reading this story and her other writings.
Contagious: Why Things Catch On by Jonah Berger is one of the books that inform the unique grading rubric for determining whether or not a certain campaign conceived in our daily Ideation meetings will be proposed to our advertising clients, send back for further details how it would be completed or shelved. The TL;DR book review format can turn the book into a short acronym, STEPPS, that stands for and encourages marketers to ask the following about their products:
Social Currency – Does sharing information about this make you look good?
Triggers – What cues do people have with your product, how can this be expanded
Emotion – What sort of emotion is elicited by discussion of you product and how can this be changed?
Public – What can be done to make private purchasing decisions private?
Practical Value – Can you assist others in some way by this information
Stories – Are you framing the information you want transmitted into a narrative format or just a list of product specifications?
Delving deeper into these principles, Berger presents a number of case studies that illustrates various advertising campaigns in action using these principles, correctly or incorrectly.
Being familiar with internet lore in general several of the examples provided in each of these sections, or variations therein, were those that I was familiar with. For example the $100 sandwich and the connection between 1980s anti-drug advertising, which made the private public, being seen in part as a cause for the rise in teen drug use. A larger number of them, however, I was not. Thankfully the books was written in such a way that though it consists primarily of case studies illustrating the aforementioned messaging qualities the book does not take an overly formal tone.
Reading these analyses and commentary on the over-importance of influencers, varieties of physiological arousal, presenting information in an appropriate context all are very useful not only to those seeking to raise awareness about products for sale but also for those seeking to engage in any sort of public awareness campaign. An anecdote about a healthier eating campaign on college campuses, for instance, is described how a different choice in wording (A/B testing) could have a 25% greater likelihood in encouraging students to eat more fruits and vegetables. The difference in wording? Using a general food associated terms “When you eat” versus “when you fill your tray”. The latter was more effective as it had a stronger contextual trigger – students saw this in a cafeteria.
I found the “fool in the pool” anecdote – the story about Ron Bensimhon’s break in to the Olympics and jumping from the divers deck while wearing polka dot tights and GoldenPalace.com emblazoned on his chest – to be particularly useful as a reminder for the need for correct triggers/context and being attuned to the psychology of sharing. As a content marketer, depending on the client, much of the material we produce can be quite tangential to those whose products or services we are seeking to help bring greater exposure to.
The book is a quick and easy read and I was happy to learn that some of the practices that I’ve applied to my project decisions are those that Jonah Berger endorses. This isn’t necessarily a result of my own genius, but likely from my having read Berger’s teacher’s book Made to Stick: Why Some Ideas Survive and Others Die. For example, a project that I’m working on I was ready to use a single broad survey as a data source for a campaign. After having read this I’m now more confident in pursuing a slightly different direction that queries less people but gets more information that will likely lead to others relating to it at a deeper level. Previously open to pursuing the least time intensive route that would likely still make the customer happy, now I can cite evidence why a small pivot could be result in much greater visibility.
Black Against Empire: The History and Politics of the Black Panther Party by Joshua Bloom and Waldo Martin is the first deep archival work that truly showcases the Black Panthers brief but pivotal role in the African-American freedom struggle, the black power movement and the New Left movements in America. While the Panthers were only an effective political machine for a mere four years, this account shows how and why they were able to attract so many under its banner despite being intensively repressed by the FBI and there being a variety of other organizations which politically radical blacks could join.
The opening chapters provide an on the ground account of the Oakland /Bay Area political and cultural scene through Bobby Seale’s and Huey Newton’s engagement with them. The organizations that would influence and be influenced by the Panthers included black nationalists, U.S. socialists, third-world communists, cultural uplift organizations, New Left groups and the government through the form of social work programs. It was their militant anti-imperialism that separated them from other organizations. Following Malcolm X’s views that the U.S. police force was akin to the troops of a colonial empire, they organized patrols to monitor the police’s activity in the community while openly armed and actively courted the “brother on the street” to become involved. At this time the organization was called the Black Panther Party for Self Defense, a name that would be shortened following the expansion of social services provided and their rapid expansion into cities with large black populations.
I found it amusing that one of the Party’s early and vehement supporters mentioned several times in the book is Bob Avakian – the not yet founder of the Revolutionary Communist Party. More interesting yet is the descriptions of the organizational conflicts brought about after the Party’s spread following the California Courthouse Incident. The extensive archival work depicts a variety of factors constraining and supporting the party’s goals – be it police suppression and infiltration, or the coalition style politics that was able to support their goals.
Some of the more interesting things revealed to me in the book was the existence of an organization similar to the one that Happy runs in Unraveling in Chicago. In the chapter on the State’s assassination of Fred Hampton the authors describe the existence of a militant gang that also offered some social services and had members that would adjudicate conflict between members extra-judicially. They describe a scene wherein Fred Hampton tries to talk to their leader in an attempt for them to merge. As the FBI had started a rumor that the Panthers were going to kill their leadership if they didn’t join the tense scene of around 100 armed and militant gangsters coming into what was supposed to be an amiable meeting is very dramatic.
The closing chapters describe the changing national and international dynamics that lead to the decline of the Panthers. On the international scene the countries that had previously recognized the Party – anti-colonialist, revolutionary, socialist governments – soon adjusted their policies to engage with the United States Government. China, which had once welcomed the Panthers as a proto-government, soon broke off discussions with them. Cuba, which had spoken of using farms their nation as a training ground for revolutionary fighters and supported consciousness raising activities such as radio shows and publication of books such as Negroes with Guns, soon drastically limited the ability of those seeking shelter – such as Assata Shakur – so that the relationship with the United States would be better. Same so for Algeria, which had one seen itself and acted as if it were the leader of pan-African revolutionary movements but then had to deal with the more banal activities of governing.
Additionally much of the impetus for liberal coalitions to support the organization was taken away as the government started to concede a number of the demands of the Panthers. As the number of young Americans getting drafted fell dramatically, the numbers of those dying in Vietnam fell and the beginning of Nixon’s policy of “Vietnamization” – or turning responsibility for fighting primarily over to the South Vietnamese – those in the Anti-Draft Camp started to back off. As the government started to institute quotas for government hiring and black unemployment decreased, criticism of the state as explicitly racist became more difficult.
Lastly the split between Huey Newton and Eldridge Cleaver was of a quality that made it difficult for current members want to stay in and outside members not to view as cause for delegitimization as a movement. Party debates are one thing, but the rhetoric turned to broad purges and internecine assassinations between the Newton/Cleaver cliques. Rather than debate the merits of Social Democratic politics, advocated by Newton, versus forming an insurgency, advocated by Eldridge, Netwon’s expulsions of those against his position inflamed tensions. This is likely because a number of the high ranking members that had been supporting Newton’s release through a wide variety of actions now saw their work as towards someone that they now fundamentally disagreed with.
After the Party has been dismantled, there is a brief account of Newton’s new life as an Oakland Mafioso. While the book clearly is focused on the Panther’s, given that Free Huey! was an international slogan and major pursuit of the rank and file membership I would have liked to have learned a little more about this. I recognize the author’s claim that those who have fixated on it seem to extend Tom Wolfe’s criticism ex-post facto in such a way as to delegitimize the Panther’s in some fashion, but I am more interested in it as a case of what sort of enterprises are formed when political aspirations are difficult to form – a la the Chicago gang mentioned earlier.
Big data is a social phenomenon that has significant qualitative effects that the authors state is revolutionary. Able to come about as a result of technological evolution, for the first time in history, there exists the ability for people to easily and cheaply capture and store massive amounts of data and monetize it for various uses in a variety of ways one thought impossible. This transition means that statistical methods of sampling or estimation no longer ought to be seen as the ideal manner in which various interests can extract meaning from data.
The book points out that data is rapidly becoming the raw material of business and government policy. A number of other examples include, as it related to criminal justice issues, police use the technology to determine which regions to patrol at certain times of day. In the business realm Wal-Mart, the first company to adopted datafication for it’s sales analysis systems, learnd from that that they should send Pop-Tarts to areas about to be affected by hurricanes and not NutraGrain bars. This area small examples, however, as data accumulated by some companies for insurance and banking are able to sell for hundreds of billions of dollars as they can help with predictions about the likelihood of loans defaulting.
Data, as it exists in the world, can however lead to flawed conclusions. Mayer-Schönberger and Cukier praise Google’s Flu Trends service – which analyses billions of searches into its website as well as other indicators to estimate the prevalence of flu in the United States. In 2015 Google’s estimate of flu cases was twice the actual number. This isn’t itself an issue – however – as it allows data scientists to better figure out how to quantify this without people filling out a survey every day. So, what exactly is so revolutionary about businesses having a better means of projecting items that will likely be purchased by consumers? Well, the book argues that it’s paradigmatically revolutionary and cites three shifts why this is so.
The first shift cause by big data is the ability to survey components of information from potentially a whole population instead of just sampling random portions of it. Rather than projecting based upon samples – which the authors repeatedly decry as an antiquated means of projecting (something proven by the recent election of Trump despite most polls to the contrary) – we can look at everything.
The second paradigmatic shift is that “looking at vastly more data also permits us to loosen up our desire for exactitude”. This is so as in big data, according to the authors, “with less error from sampling we can accept more measurement error”. Science is obsessed with sampling and measurement error methodologies and potential error percentages because they exist in a ‘small data’ world.
It would be amazing if the problems of sampling and measurement error really disappeared when you’re “stuffed silly with data”. But context is something that needs to be considered carefully and why it is easy to treat samples as n=all as data gathering means get closer to full coverage, researchers ought to account for the representativeness of their sample. One easy to overlook example of this relates to the digital divide.
The third and potentially most radical paradigmatic shift in understanding complex information and their relationship to each other means that people will change the “causal modality and get rid of “the idea of understanding the reasons behind all that happens.”
The traditional image of science the authors propound, however conflates principles with practices. While desire to determine causality and precision in measurements are generative mores, the authors seem to dismiss causation as something to aspire to too cavalierly with the promise of big data.
Their claim that the social sciences “have lost their monopoly on making sense of empirical data, as big-data analysis replaces the highly skilled survey specialists of the past” seems fatuous. So what if the new algorithms can review big data analyses and predictions, they only determine meaning by the means by which they are input. What others not so blinded by promise of datafication know is that even at the most granular level of practice, analytic understanding is necessary when attempting to implement these systems in the world or use them to understand the past.
Unlike any time before in history, people have access to vast amounts of free information and with the right tools and training they can structure data in an aesthetic manner that allows non-specialists in the field to see patterns and trends that would otherwise be invisible or difficult to derive meaning from. The Functional Art by Alberto Cairo presents an epistemological overview of how people read infographics and then demonstrates how to most effectively use statistical data to make charts, maps, and explanation diagrams. Cairo does not merely present us with a list of what he considers his best works but shows the steps taken to create successful infographics and how certain forms of quantitatively measurable changes should typically be associated with certain types of illustrating change – such as box and whisker plots.
By transforming numbers into graphical shapes, readers can come to spot the stories in the data and learn new things from it with greater speed than in text regardless of the type of data you’re working with. Cairo states that most people new to the field jump too soon to the “look and feel” part, without first asking the right questions. Based upon his experience, he believes that people should first ask about what information is most important to display, how consumers of it will want to explore the information – especially if it is interactive – and then at this point start to determine the look and feel of it. Cairo, like myself, views much of the decorative additions typical of infographics, i.e. symbols or icons included that don’t really add anything other than flair, as poor design. Not that it is ALWAYS bad to include these, just it’s become the trend for them to be included at the cost of reducing effective communication.
Exegesis on this issue of approach to graphical forms takes the form of a discussion of “engineers” versus “designers”. On one extreme is Edward Tufte, who espouses a minimalistic approach to visualization. On the other extreme is graphic designer Nigel Holmes, who takes a more emotional, mimetic approach to graphic design. Cairo argues that there are benefits to both approaches and that the project itself should dictate how one processed rather than personal preference.
In the first part of the book, Cairo explicates the three main tenets of good data visualization practice: first, good graphic techniques and strategies (minimal use of pie charts, reducing non-data ink, etc.); second, how to create eye-pleasing graphics (how to choose color, fonts, layout, etc.); and, most importantly, how to use data visualization to tell a story. I think this is where The Functional Art really stands out as a great reference – Cairo shows you how to use data visualization not as a way to just show your data or to create a tool for people to explore your data, but as a way to be a storyteller with data.
One of the model’s Cairo created to help him ideate on how to develop a visualization is called the “Visualization Wheel”. The top part of the wheel indicates increased complexity and depth and the bottom part representing simplicity and lightness. The key takeaway is to provide balance to a visualization with the audience in mind. Certain audiences are likely to gravitate towards one than the other.
The next part of the book explains the eye-brain connection – how humans perceive different shapes, colors, etc. – in relation to designing good infographics. Cairo isn’t a cognitive scientist, but the skill with which he addresses these issues illustrates the depth of study he’s done of the literature and how to use this knowledge to create better graphics. These two first parts of the book are helpful for anyone those in the visualization and the graphics Cairo has chosen to include are all inspirational and make this not only a good overview of the field but also a good reference book.
In the last section of the book, Cairo profiles and interviews 10 prominent data visualization designers and visual journalists, including The New York Times’ Steve Duenes, The Washington Post’s Hannah Fairfield, Condé Nast Traveler’s John Grimwade, National Geographic Magazine’s Fernando Baptista, Hans Rosling of the Gapminder Foundation, and others.
This section is beneficial as it gives brief insights into how it is that leaders in the field approach different challenges created by their projects and to see how journalists work with the information visualization professionals in their teams in leading newspapers in different ways based upon the workplace.
In closing, The Functional Art touches upon all the important issues related to infographics such as:
Why data visualization should be conceived of as “functional” rather than fine art
A general outline of when to use bar versus circle charts
How to use color, type, shape, contrast, and other components to make infographics more effective
Differentiation between symbols and icons and help versus hurt their readability.
The science of how our brains perceive and remember information
Best practices for creating interactive information graphics
The creative process behind successful information graphics
It’s a great book for those new in the field and the clarity of expression found within was so good that I look forward to reading more of Cairo’s work.
Niina: Okay, so there is this weird place in Brooklyn called Dead Horse Bay, which is down in South Brooklyn kind of near the Verrazano Bridge. The reason for its name was that it used to be surrounded by glue factories, where the carriage horses would go get processed.
Ariel: Oh, wow.
Niina: Yeah, it is kinda grim. Especially after the automobile took over New York City, the carriage horse thing was no longer lucrative, so they made it a dump. Even better, right? And, so, it went from a glue factory to a dump. But then they were like, oh crap, we shouldn’t have a dump this close to the city. So they capped it and sealed it, and then the cap at some point later burst. So, now when you go to Dead Horse Bay, you find horse bone shards and fifties-era garbage, like weird bottles and shoes and things. And so it’s a very weird experience to go there. Like, you can actually take the bus and disembark and go through some hedges and then you’re on the beach filled with garbage. It smells weird, like chemicals. At low tide you find horseshoe crab corpses and it feels very much like, not a part of New York City. While, definitely very much being a part of New York City.
Ariel: Still goth and somewhat obsessed with death after all these years! [laughter] I love it!
Niina: Yeah, I know. I almost like to talk about it, because once I find a place that talks to me, I kind of think of it as mine. You know?
Ariel: Yeah.
Niina: But of course, thousands of people go there all the time. It’s not a beautiful beach, but if you’re into the decay of cities, it’s a really cool place to visit. And so, and then there’s of course, like the idea of beating a dead horse and how much that kind of sounds like it’s about the body. As you know there’s a lot about the body in the collection, so that title seemed fitting. Plus my editor pointed out that I use a lot of single-syllable, elemental words, and the title is just like that. You know, the thing down to its essence, basically.
Ariel: So, Carl Phillips has said that poetry is more of a transformation of experience, rather than a transcription of it. What do you think about that?
Niina: I think all good literature is a transformation of experience. Poetry can perhaps be more obviously that because people expect poetry to take certain cognitive leaps. It’s not as specifically straightforward as an art form. As the sort of the weird cousin of prose, it doesn’t always make sense. So, in that way it allows you to be very transformative. You can hop from one thing to another, subject matter-wise, a lot faster and with greater ease that you could in prose. With prose you’re almost forced to explain your thought process and connections more. I think readers of poetry allow themselves to make connections more intuitively. In poetry, readers don’t necessarily expect you to do that, so that’s the great part.
At the same time, though, I’ve gotten a lot of comments about being very clear and straightforward in my own poetics, in terms of like what I write. People are always coming up to me and saying “Oh I’m not usually a poetry person, but…” and then they go on to say that they enjoyed it, or got something out of it, or bought my book. I think that is really cool too. But although I try to keep my language clear and essential, I still expect my readers to get weird with me.
Ariel: Speaking of clarity, I wanted to ask you how important accessibility of meaning is to poetry? Put another way, should one have to work hard to solve a poem?
Niina: Of course it’s wonderful if a poem talks to a lot of people. And when I edit, I really want things to be clear. But a poem takes its own life once it’s out in the world. It gathers its own momentum and it doesn’t always do what you meant for it to do. I think if your poem’s meaning is accessible to people, that’s amazing. But if you’re trying to intentionally obscure or hide your meaning, or make yourself seem smarter by being needlessly complicated, I think that’s where poetry really gets a bad rep. I can’t stand overly academic writing, period. That goes for poetry and prose and everything in between. I just think that you should know what you’re saying. Have enough control over your language to guide the reader, but leave some room for them to be surprised.
Ariel: Oh, I agree wholeheartedly. I can’t stand obtuse poetry. When I took poetry workshops with Susan Mitchell at FAU she had us read a lot of language poets, because that’s what she was into and I just couldn’t stand it. And then there’s what’s published in, say, the New Yorker, which for me is sometimes hit, mostly miss.
Niina: Yeah, language poetry is not necessarily for me either. I need to have something tangible in the world. I need to be grounded in reality, at least part of the way. Even when some of your content is impossible or implausible or surreal, there needs to be something that keeps you oriented or grounded within the framework of the poem. In that book, for me, the tangible thing was often a sense of place.
Ariel: Oh, yeah, I agree and I think Dead Horse does exactly that. I even said in my review there was only one part that I found myself, like unsure of, and the rest I was like, yeah I get this. This is, this is comprehensible and that was great.
Niina: When you’re reading something and you understand the location or the premise or you understand something fundamental about it, it allows you to get at the subtleties of it and that that allows the complicated stuff to sneak up on you. Then you’re not flailing to understand the mechanics of it.
Ariel: Yeah, once you get the, have the general focus, you can start looking at the little pieces and maybe like, play around with them.
Niina: Exactly.
Ariel: Okay, tell me a little bit about Kiss Me in the Boring Rain project as I too am somewhat obsessed with Lana Del Rey.
Niina: Oh yeah. So, I found myself listening to Born To Die and thinking a lot about it and not quite being able to grasp why I liked it so much. Some of the lyrics are kind of basic and it’s not that’s it’s musically that complicated. The album wasn’t even that well produced in some parts. But something about the persona that she adopted – the absolute certainty with which she talks about her devotion to the darkness of love, made it rattle around in my brain. And so, I slowly wrote the poems while listening to particular songs, like on repeat, until I got some lines down. There is something about her that I can’t get over, but that project helped me a lot with my obsession around that album. It helped me put the album away a little bit.
Ariel: I know how you feel. She’s easily one of my most listened to artists in the past five years. When I saw her play live a few months ago I didn’t even care about the lackluster stage show just because I was so caught up in the lyrics music. Anyway. Shift of topic. I know you attend a lot of poetry readings and even host your own, Popsickle. I’m curious how has the Internet informed and contributed to the well-being of poetry in your mind?
Niina: Quite a lot. It makes sense to poets. I think poetry benefits from the immediacy of Internet because it reduces the turnaround time on publishing in journals, or in any form of print really, and I feel that poetry works best when it’s reactive to the zeitgeist. When there’s a faster cycle between writing and publishing it, it’s good for the medium. It’s also easier to reach more people than a print subscription to a journal would. Not that print is not valuable, of course it is, but it’s just like more, it’s got a wider reach and more tentacles, you know.
Niina at a poetry reading accompanied by violin.
Ariel: Cool. What books in print are you reading right now?
Niina: Right now I’m reading Cannibal by Safiya Sinclair, and Green Girl by Kate Zambreno.
Niina: Actually that sounds extremely interesting. I’m working on a little bit of prose which takes place in Florida. So I was just reading about Everglades draining, which is another smart idea Florida had.
Ariel: Yeah, Florida’s land developers haven’t always been bright, but they’ve always known how to sell the idea of a potential that on closer observation is detrimental to everything that made it in the first place. I took a Florida History class at FAU and the professor had said about how it’s this underserved niche in the field.
Niina: I think Florida’s a really interesting state because of it’s heterogeneity in population and it’s proximity to different areas of the Americas and of the world. And because, it’s the place sketchy people go to disappear for many reasons.
Ariel: Yeah.
Niina: There’s also its various environmental issues. There’s just so much to say about it, and it should be taken seriously, but like, Florida’s sort of the crazy bitch of America, right? Everyone’s like, “Oh Florida, there it goes again!”
Ariel: “Florida man does something unusual and awful again.”
Niina: Exactly. I wanted to start a Twitter account for like heroic Florida Man stories that were like “Good job Florida man!”, or something. That stuff happens too it just doesn’t get as much circulation.
Ariel: Yeah. We’re not all dying from eating too many roaches.
Ariel: Haha! And of course that happens in my hometown of Jupiter, way to go Florida Man!
Niina: I know! That made me laugh so much when I read it.
Ariel: Yeah, all my friends were sharing that too. Almost as a counterweight to that kind of notion I’ve been reading a lot of works by Florida authors lately. I just finished a collection of short stories by Jennine Capó Crucet about like Cuban life in Hialeah. Then there’s Paul Kwiatkowski, who wrote Every Day Was Overcast. Weird coincidence, but after I interviewed him a couple of months ago, I’ve since found out that I have three mutual friends with him.
Niina: That’s awesome. Karen Russell and Kent Russell both write about Florida too. And Sarah Gerard is publishing a collection of essays about Florida next year with Harper Perennial.
Ariel: Karen Russell wrote Swamplandia!, right? My eleventh grade students are reading that in their English class right now.
Niina: That’s awesome. Yeah, I love her. Her short story collection is really good.
Ariel: Yeah I want to read Swamplandia! too, but, like, I need to stop buying books for a little bit and finish reading all of what I have, so I don’t.
So now that we’re talking about all these books, I wonder how did your MFA influence your creative process?
Niina: If I could go back in time I would do a lot more research about MFA programs. The program I attended maybe wasn’t the one for me, because it was super narrative, and about as literal as poetry can be. But, the main way it influenced me was getting me to New York and, so you know, hooking me up with an initial community of people who were my first readers and all that stuff. And I still stay in touch with like a couple of the people and they’re critical in my process. So, that part, that part mostly, community I guess.
Ariel: I read this article in Jezebel that touches on some of the subject we’ve been talking about – the internet, reactivity and poetry communities – and was wondering if there was any overlaps with your experience.
Niina: I attended one of the schools where this particular “inappropriate literary man” taught, and although my personal experiences were different than the ones this article touches upon, I felt that the program’s atmosphere was very male somehow. Maybe it has to do with some old-school notion of the MFA program, but in retrospect it’s especially confusing to me at that school because the program was mostly non-men. That was ten years ago; it does feel like there’s a change in the air now. Voices that might have stayed silent even as recently as then aren’t staying silent anymore, and that’s a good thing.
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Make sure to read my review of Dead Horse and then buy it of course! You can follow Niina’s website by going here. Also, as a special Halloween treat, dear reader, feast your eyes on this collaborative poem that Niina and I wrote when babies for duo-poetry performance: I present to you Degothalizer 2000!
Lest we forget, the American government only illegalized chattel slavery and it’s attendant horrors out of economic and military necessity, and even then reluctantly. Following Emancipation, white supremacy did not end, but merely took new forms. Here’s a basic reading list related to that history and questions of tactics.
The Long History of White Resistance to Black Freedom
When you read an account of how someone describes the highs and lows of their existence in their early 20s it tells a lot about their character. Most people are trapped in the pursuit of selfish interests, a good job, obtaining good housing and a lover to share their time with. There is nothing wrong per se with such pursuits, however often there is no balance and actions to promote community development is ignored.
