by Carolyn Kellogg
What was it like hearing about the award?
It’s very exciting, very surprising, which makes it more exciting.
I’m in my mid-50s. This is an incredible honor, but I’ve been lucky enough to get my work done with or without it. So I feel like having this award given to me at this point in my career, I think in my own imagination, what else? It makes me want to do even more in terms of the subject of my work.
The subject of “Citizen” is, in part, the death of black men in America. And that subject is renewed again as we’re talking. I wonder if you could address that.
To me, the getting of this honor is a kind of recognition, obviously a monetary recognition, which is helpful. But it’s also for me the culture saying: We have an investment in dismantling white dominance in our culture. If you’re trying to do that, we’re going to help you. And that, to me, is encouraging. The MacArthur is given to my subject through me. The subject of trying to change the discourse of black people being equated with criminality and murdered inside a culture where white fear has justified the continued incarceration, murder of blacks and other people of color. I do feel like I am just incidental in a certain way to the prize, and that the prize is being given to the subject — that I am completely invested in.
Could you talk about your ongoing creative project?
Before I was notified about the MacArthur I had been in the process of putting together with Casey Llewellyn, and a number of writers and artists, the Racial Imaginary Institute. Which for us is an interdisciplinary arts and cultural laboratory for the dismantling of white dominance. One of the things I think the culture needs is an actual location where writers and artists and thinkers can come together and put pressure on the language that makes apparent white supremacy and white dominance. I think a lot of us are working separately on these subjects, but it would be nice to have a Racial Imaginary Institute that really has as its goal the dismantling of white supremacy. That each of us can go at it inside of our fields. If you’re a writer, you have the benefit of talking to other artists who are interested in the subject. What are we missing? What isn’t getting said? What are the narratives of white greatness that disallow other things to be brought to the surface? I’m very excited about the creation of the institute, the making of the space, the notion that culturally we’ll know where to go to have these discussions, to actively look at the absences and the erasures around the construction of race, especially the construction of whiteness in America.
Where will it be?
Right now we’re looking for a space, but I assume it will be in New York City. Right now we exist as people with a mission and a name. And with work [the essay collection “The Racial Imaginary” was published by Fence Books in 2015].
When you heard about this award, did you think, I’m buying an island and we’ll have our institute!
No, I think that it’s the kind of thing we’ll have to work toward getting funding for. Not even the MacArthur money can put something into the world like that. I really believe that the culture can change the way we think. Right now we have a media culture, television culture, pop culture that still moves forward on many assumptions around whiteness that we all know to be erroneous and hurtful. I think that this institute could begin to make products — books, give talks, present readings, make art — that shifts the understanding into a place that reflects an actual reality rather than the constructed realities around whiteness.
Tell me a little about the aesthetics underlying your work.
I’m committed to an interdisciplinary investigation of cultural dynamics. The reason I will forever identify as a poet is because I think poetry is the one genre that privileges feelings. And so no matter what I’m working on, I’m also interested in the impact of the reality with the human psyche. So for me, the work has to bring the reality up against the experience of the reality. And all of my work is how do you get that to be apparent, and apparent in language? The felt experience. For example, right now we know that 60% of African Americans and Latinos live in communities where you have toxic-waste sites. Now that’s a fact. But how do I get that to be a lived experience inside a work of art? That’s the challenge as a writer and as an art-maker. How do you get the piece of art to enact a discussion that feels plausible inside your own living room? Right now I’m working on a play that draws from “Citizen.” The real challenge is how do you bring the kinds of conversations around race that happen at 7 o’clock over the dinner table onto the stage? So that when you go to the theater to see it, you know you’ve had that conversation.
So that there’s a kind of recognition.
There has to be recognition. One has to step into the moment as a lived experience. Even if the circumstances seem foreign, the experience needs to connect as a known realm on the emotional level.
Adapted by Stephen Sachs and directed by Shirley Jo Finney, The Fountain Theatre’s acclaimed 2015 stage adaptation of Citizen: An American Lyric was heralded Critic’s Choice in the LA Times, and won the Stage Raw Award for Best Stage Adaptation.
Carolyn Kellogg lives in Los Angeles and is an award-winning LA Times staff writer who covers books and authors and publishing. This post originally appeared in the Los Angeles Times.