A book of poems and collages that, as J Ruth Gendler writes in the Foreword, "illuminate our condition, point toward the mysterious and the real, name sufferings, say what is true. "Judith’s fidelity to her experience, her tender detachment and her precise observation gives these laments and praise songs their strength, their shape and power so that they become a balm, a gift to us, a present made from silence and language and courage."

Carve This Body into Your Home: poems and collages by Judith Tannenbaum

Literature & Fiction

TANNENBAUM, Judith

Poetry

Nehama Press

This is a soft cover exhibition catalogue for Vija Celmins for a traveling exhibit which began at the Institute of Contemporary Art, University of Pennsylvania, 118 S. 36th St. Philadelphia, PA (NOV 6, 1992-JAN 17, 1993). It includes black and white and color photographs of the works exhibited, Celmins Exhibition History and a Bibliography. Vija Celmins (1938) is an acclaimed Latvian-American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks. Her works are held in the collections of over twenty public museums, including the Art Institute of Chicago, Baltimore Museum of Art, Carnegie Museum of Art, Centre Pompidou, Paris, Hammer Museum, Los Angeles, High Museum of Art, Kunstmuseum Winterthur, Switzerland, Los Angeles County Museum of Art, Metropolitan Museum of Art, New York, Modern Art Museum of Fort Worth, TX, Museum of Modern Art, New York, National Gallery of Art, Washington, D.C., Philadelphia Museum of Art, San Francisco Museum of Modern Art, the Menil Collection, and the Whitney Museum of American Art.

Vija Celmins

Institute of Contemporary Art, University of Pennsylvania

Time Flies - Stuart Netsky

Performs: Janine Antoni, Charles Ray, Jana Sterbak

Arts & Photography

Univ Pennsylvania Inst of

Jeanne Silverthorne

Schaffner, Ingrid

Isaak, Jo Anna

Silverthorne, Jeanne

Biographies, Philadelphia narratives: Donald E. Crump, Marilyn Holsing, Sarah McEneaney, Michael O'Reilly, Shashwati Talukdar, Bhakti Ziek

Masterfully conceived and crafted, the eleven pairs of objects designed by Jonathan Bonner to fit into an individual's trouser pockets are also completely preposterous in their functionality. Graphite and glass pocket balls pop out awkwardly from the leg, circular pocket magnets provide a novel way of carrying scissors, wrenches, and screwdrivers. Ice pocket mounds melt, pointy pocket weasels create holes, and pocket air bags bulge. In deadpan images that mock product photography and industrial publications, Bonner plays mischievously with the relationship of function to design, advertising to reality, sobriety of approach to hilarity of conception, proving himself much more interested in the long-standing relationship of hands to pockets and genitals than in the idea of usefulness.

Jonathan Bonner: Front Pockets

Individual Artists

Museum of Art, Rhode Island School of Design

By Heart: Poetry, Prison, and Two Lives

Judith Tannenbaum and Spoon Jackson met at San Quentin State Prison in 1985. For over two decades they have conferred, corresponded and sometimes collaborated, producing very different bodies of work resting on the same understanding: that human beings have one foot in darkness, the other in light. 
 In this beautifully crafted exploration – part memoir, part essay – Tannenbaum and Jackson consider art, education, prison, possibility, and which children our world nurtures and which it shuns. At the book's core are two stories that speak for human imagination, spirit, and expression. 
 Q&amp;A with Judith Tannenbaum Co-author of By Heart: Poetry, Prison, and Two Lives 
 How did you meet Spoon? 
 I first came to San Quentin in 1985 to give a poetry reading to a small group of men. I was then asked to come back to teach and Spoon was part of our class from almost the beginning. He was my most intriguing student. Each week he constructed a circle of chairs he sat within, and for the first year, said nearly nothing. But he kept showing up. 
 Why did you write this book? 
 Spoon suggested that we write a two-person memoir. I’ve shared poetry with public school children and maximum security prisoners for over thirty-five years, and I welcomed the opportunity to describe both this work and the values it rests on. Also, I looked forward to memoir’s invitation to re-enter childhood, young motherhood, becoming a poet. 
 Why a two-person memoir? 
 Point-of-view is one of my deepest interests. Encouraging my capacity to see the world first from one perspective, and then from another, strengthens not only my vision, but also my heart. I loved that Spoon proposed a book in which we would tell our individual and shared stories in alternate chapters. By Heart seems to me stronger because it allows readers to move back and forth between Spoon’s experience and mine. 
 Why should anyone read a book by a convicted murderer? 
 One reason is practical. An enormous percentage of most state budgets goes to pay for prison; the public is asked to make many decisions about who is sent behind bars and for how long. We need every report we can get about this world we’re paying for. Practical, too, is that the best chance we have to prevent future violence is to hear from those who have known violence. Besides, people in prison are people. I believe our humanity is deepened when we open to the humanity of others. 
 Do you have a main point you’d like a reader to take away after reading By Heart? 
 Spoon writes about the many doors and windows through which a reader might enter our book. After so many years working in public schools and prisons, one main point for me is noticing which children our world nurtures and which it shuns. I hope readers of By Heart take away the recognition that all children are our children; I hope readers are encouraged to support, listen to, educate, and care for each child as they would for their own child. 
 Q&amp;A with Spoon Jackson Co-author of By Heart: Poetry, Prison, and Two Lives 
 What are you in prison for? 
 I was convicted of first degree murder. I have served thirty-two years for the killing and I take full responsibility for that loss of life. 
 Do you have remorse? 
 Every day, sometimes every moment. I messed up big time and I know I cannot bring back the life that I took. This is a forever wound on my soul and heart. But I can make sure my walk on Mother Earth for the rest of my life is one of service, peace, and love. 
 Why did you write this book? 
 Because I am a writer and I wanted to do a writing project with Judith Tannenbaum. Since the days we met at San Quentin in the 1980s, my dream has been for the two of us to do poetry readings and projects. Also, I hope the book will help me make amends for the wrong I did. 
 Why should anyone read a book by a convicted murderer? 
 Hopefully By Heart will open the eyes of, inspire, and detour wayward youth and others from the dark path that led me to prison. I know such is a reoccurring theme of authors who are serving, or have served, time in prison. Yet this kind of enlightenment is what happens sometimes when you wake up to the real: you want to do what is healing and self-rehabilitating. 
 Do you think you deserve a second chance? 
 No, I don’t think I deserve anything. Sometimes I think I owe my life for taking a life. My finding, or creating, redemption for the wrong I’ve done does not depend on my ever seeing the streets again. My hope and dream is that I’ve made amends and peace. I have not given up on getting out of prison. I have just let go and live as I live in the moment. If Mother Earth, karma, Goddess, God, the universe, or whatever forces govern love, life or time prefer that I spend the rest of my physical life behind bars, who am I to complain? 
 Do you have a main point you’d like a reader to take away after reading By Heart?
 By Heart has many doors through which a reader can enter, and if someone doesn’t find a door, he or she can climb in through a window. One main point is that, as human beings, we all have one foot in darkness and one foot in light. I hope readers will feel that I’ve balanced my walk by creating By Heart.

Biographies & Memoirs

Jackson, Spoon

Arts & Literature

New Village Press

Disguised As a Poem: My Years Teaching Poetry at San Quentin

When Judith Tannenbaum last met with her poetry writing class at San Quentin prison, one of the students commented, "Now I'm going to give you an assignment: write about these past four years from your point of view; tell your story; let us know what you learned." This beautifully crafted memoir is the fulfillment of that assignment.In stirring and intimate prose, Tannenbaum details the challenges, rewards, and paradoxes of teaching poetry to maximum-security inmates convicted of capital crimes. Recounting how she and her students shared profound and complicated lessons about humanity and life both inside and outside San Quentin's walls, Tannenbaum tells provocative stories of obsession, racism, betrayal, despair, courage, and beauty. Contrary to the growing public perception of prisoners as demons, the men in this poetry class-Angel, Coties, Elmo, Glenn, Richard, Spoon-emerge not as beasts or heroes but as human beings with expressive voices, thoughts, and feelings strikingly similar to the free.Tannenbaum provides revealing views of conditions in the cellblocks and shows how the realities of prison life often paralleled her own life experiences. She also relates such events as visits to her group by prominent poets (including Nobel Prize-winner Czeslaw Milosz); a prison production of Waiting for Godot sponsored by Samuel Beckett himself; and the presentation of her students' work to a class of sixth and eighth graders, who connected to the prisoners' words by writing their own poems to the inmates.

Disguised As A Poem: My Years Teaching Poetry at San Quentin

Professionals & Academics

Northeastern University Press

When Judith Tannenbaum last met with her poetry writing class at San Quentin prison, one of the students commented, "Now I'm going to give you an assignment: write about these past four years from your point of view; tell your story; let us know what you learned." This beautifully crafted memoir is the fulfillment of that assignment. In stirring and intimate prose, Tannenbaum details the challenges, rewards, and paradoxes of teaching poetry to maximum-security inmates convicted of capital crimes. Recounting how she and her students shared profound and complicated lessons about humanity and life both inside and outside San Quentin's walls, Tannenbaum tells provocative stories of obsession, racism, betrayal, despair, courage, and beauty. Contrary to the growing public perception of prisoners as demons, the men in this poetry class-Angel, Coties, Elmo, Glenn, Richard, Spoon-emerge not as beasts or heroes but as human beings with expressive voices, thoughts, and feelings strikingly similar to the free. Tannenbaum provides revealing views of conditions in the cellblocks and shows how the realities of prison life often paralleled her own life experiences. She also relates such events as visits to her group by prominent poets (including Nobel Prize-winner Czeslaw Milosz); a prison production of Waiting for Godot sponsored by Samuel Beckett himself; and the presentation of her students' work to a class of sixth and eighth graders, who connected to the prisoners' words by writing their own poems to the inmates. This honest, unbiased account of how one woman artist came to share purpose and inspiration with the prisoners at San Quentin demonstrates the power of human bonds and the power of poetry and other art forms as a means of self-expression and communication within and beyond locked cells.

Northeastern Univ Pr

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