Search Results for: poetry

I’ve Found Her

Illustration by Kjell Reigstad

Martha Baillie | Brick | Summer 2017 | 17 minutes (4,882 words)

This essay first appeared in Brick, the beloved biannual print journal of nonfiction based in Canada and read throughout the world. Our thanks to Martha Baillie and the staff at Brick for allowing us to reprint this essay at Longreads.

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1.

“I have found her,” announced the email sent to me by a close friend, H, who was working in Paris. The attached photograph showed a person I recognized—an elderly woman standing on a street corner and clutching a notepad. Her abundant white hair was gathered into a loose knot at the back of her head; she had a fine nose, an open face lost in thought, and on her feet flat shoes. Her white dress, more coat than dress, I could picture a shopkeeper wearing half a century ago or a modern lab technician. A large, unadorned purse hung from her wrist. To the right of her, the glass wall of a bus shelter exhibited a map of the immediate neighborhood, the Fifteenth District, portions of which became legible when I enlarged the image by sliding my fingertips over it. Across the street behind the woman the name of a café could now be read: Le Puit. Read more…

Mourning the Low-Rent, Weirdo-Filled East Village of Old

Jeremiah Moss | Vanishing New York: How a Great City Lost its Soul | Dey Street Books | July 2017 | 28 minutes (6,876 words)

As someone who was evicted from her East Village apartment in 2005 — and who now finds herself worried about losing her place in gentrifying Kingston, New York — I was excited to see that Vanishing New York blogger “Jeremiah Moss” (the pseudonym for psychoanalyst Griffin Hansbury) had a book coming out.

Since 2007, Moss’s blog has catalogued the shuttering of one New York City institution after another, and staged demonstrations (which he himself didn’t attend, for fear of outing himself) to try and save them. Where his blog has tended to focus mainly on the East Village and lower Manhattan, his book, Vanishing New York: How a Great City Lost its Soul, is more comprehensive, looking at the city as a whole, one borough and neighborhood at a time. It traces what he’s labeled today’s “hyper-gentrification” to the Koch era, and explores the problem in historical, economic, sociological, psychological, and personal terms.

Although Moss has been making his living for years as a shrink, he came to the city more than twenty years ago with the hope of becoming a writer. Having garnered glowing endorsements from veteran New York chroniclers like Luc Sante — not to mention the rare earnest blurb from Gary Shteyngart — it seems he’s now truly arrived.

Below, the first chapter, “The East Village.” — Sari Botton, Longreads Essays Editor

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Poems: Protection From Isolation and Solitary Confinement

Handwritten text of 'The Angel Face,' a short verse by writer Edgar Allan Poe, circa 1848. (Photo by Hulton Archive/Getty Images)

At The American Poetry Review, Beth Ann Fennelly suggests that to fully embrace the beauty of poetry, one must memorize it. Once committed to memory — a process that gets easier with practice — a poem forever becomes prophylactic against stressful days and lonely times: “We’ve all known solitary confinement. We’ve all inhabited isolation rooms. But the poems we know by heart can visit us there. They arrive as layer cakes, with files baked in.”

No matter how intense reading a poem in a book can be, memorizing the poem makes it more visceral, more intense. Physically, we’re free of holding the book, turning the pages, and training our eyes along the line. We’ll avoid the minor but inevitable reading errors that impair or delay perfect comprehension. And when the reader has taken the poem so deeply into the body that it’s memorized, the words don’t need to be understood and processed before they can be reacted to; the gap between the words and emotions they elicit disappears.

It’s no strain to recall that reading poetry is an emotional and intellectual experience, but recitation reminds us that poetry, in some ways, is as physical as dancing. Through recitation, the body and soul are synchronized.

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My Hundred

Longreads Pick

Beth Ann Fennelly suggests that to fully embrace the beauty of poetry, one must memorize it. Once committed to memory — a process that gets easier with practice — a poem forever becomes prophylactic against stressful days and lonely times: “We’ve all known solitary confinement. We’ve all inhabited isolation rooms. But the poems we know by heart can visit us there. They arrive as layer cakes, with files baked in.”

Published: Sep 1, 2008
Length: 12 minutes (3,089 words)

The 1923 Novel That Helps Us Understand Today’s Racial Climate

First published in 1923, Cane is a series of lyrical vignettes about life in rural Georgia told from the point of view of an ambivalently black teacher from the north. Cane’s protagonist is loosely based off of the author, Jean Toomer, a black man descended from mixed-race former slaves. Throughout his life, Toomer traveled across the color line, insisting that he wanted his work to be known beyond the confines of black literature.

Andrew Mitchell Davenport looks at the creation of Cane alongside his own personal history as a black man with racially ambiguous features in an essay for Lapham’s Quarterly, where he beautifully muses on the difficulty of forming a solid black identity in the wake of violent white supremacy, past and present.

I took the train north to New Haven one evening this spring. I had just read Cane for the first time as an adult, no longer in college. I am now twenty-seven, the age Toomer was when he wrote his masterpiece. I thought of how Toomer drafted Cane on trains returning to Washington from Georgia—did he sit in the black car or the white car?—and how he might have timed the rhythms of his words to the ringing of the rails, striking downhome talk and folksong into modernist poetry. I caught the reflection of my white-looking features in the train window and wondered at how my appearance eases me through time. How so many of my people have lit out for whiteness, never to return. My “white” Mormon cousins out West. Would there come a time, even worse weather, when I too might deny my past? I remembered my enslaved ancestors, their courage, the land they purchased when freed by the Union forces. At the Yale library, reading through papers Toomer kept during his time in Sparta and in his later time of exile, I witnessed how pain and fear—of the world, of one’s self—could be twisted into a terrible, haunting beauty.

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Finding Her True Self: Queer and Muslim

Photo by edenpictures via Flickr (CC BY-SA 2.0)

When young international student Lamya H arrives in Manhattan, she not only finds the city she’s come to know from books and media, she finds a place to explore her sexuality in a way that surprises even her. In the Los Angeles Review of Books, Lamya H recounts how she started to embrace her true self and all the challenges it would create.

It has been a wonderful night. “Queer Muslim Show and Tell,” a brilliant idea by my friend, where we’ve all shared something we’re passionate about. Things that we didn’t know about each other: my friend who is a serious academic reads us the poetry that she writes in her free time; another friend brings a comic book collection to show us; another talks about the anti-violence project she’s starting up at her mosque.

It has taken me a while to find these people, this group of queer Muslims who will spend a Saturday night sharing parts of themselves. It has taken me years dragging myself to lesbian bars and pride and dance parties and all that this city has to offer, these places where my Muslimness, my brownness feel acutely out of place. These places where, once, a white lesbian once petted my hijab like I was an exotic creature, where this other time, a Moroccan bouncer looked me up and down and said, “What are you doing here, sister?”

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The Condition that Shielded My Grandfather From Heartbreak

Illustration by Hannah Perry

Kate Axelrod | Longreads | July 2017 | 8 minutes (2,056 words)

 

I sat in the Emergency Room with my grandmother on a cool night last June. Hours earlier, Sadie had stood up from the couch too quickly and fallen. She and my mother had been waiting at the hospital for much of the day. Sadie was bored but wouldn’t complain except to be dismissive of her own pain. This is all so dumb, she’d said when I arrived. I’m really fine, so unnecessary for you to come all the way uptown for this. On the gurney next to her, a woman with a British accent sat erect, and asked continuously for the lighting to be alternately dimmed and then brightened, as though she were both the star and director of a one woman show.

Earlier, an X-ray had confirmed that Sadie had fractured her pelvis, but we were waiting for an MRI to see how bad the damage was. At ninety, Sadie was in fairly good shape; she hadn’t been in the hospital since giving birth to my aunt in the mid-1950s, but she had chronic pain in her right knee and had lost much of her vision to macular degeneration. More often than not, she was her ordinary astute and thoughtful self, but there were also moments of confusion and repetition, and resentment about growing old. Just a few weeks before she fell, she told me she wanted to do something, anything. She suggested to my grandfather that they volunteer in the neonatal unit of a hospital; to cradle abandoned infants in their soft, creased arms.

I sat on the edge of her gurney and smoothed my fingers against her wrist, which seemed newly delicate. My brother arrived and read her poetry from the most recent New Yorker. He has the most beautiful voice, Sadie whispered. Hours passed. I played her a guided meditation on my phone. We closed our eyes together and tried to just be, but after a few minutes we were both restless and I shut it off.

“What if I have to stay over at the hospital and Grandpa never forgives me?” she asked.

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My Parents Said I Bruised Easily

Illustration by Kjell Reigstad

Jessica Berger Gross | Estranged: Leaving Family and Finding Home | Scribner | July 2017 | 13 minutes (3,194 words)

For a good 20 years now, I’ve been working on various versions of a memoir. Some of what’s been taking me so long is that I’m conflicted about sharing certain parts of my family’s story, and my own.

Last year I managed to write and perform a fairly vague monologue about my home life in my teen years, during six of which my mother was married to her second husband, an angry, miserable human being. In the monologue, I rattled off some behavior of his that would easily be categorized as domestic violence, but which we, in our suburban middle class Jewish home, filed under under the more tidy, less shameful euphemism, “He has a temper.”

That’s what we called it when he threw a glass serving bowl filled with spaghetti at his son’s head, leaving him with a concussion; when he threw a wine glass at my mother and it shattered on the floor after bouncing off the side of her face. That’s what we called it when he dragged my thirteen-year-old sister down the stairs by her hair, when he gripped his hands around her throat and violently shook her, leaving marks. That’s what we called it when we sought refuge at my mother’s friend’s house; when my mother went back, begging his forgiveness for having left; when someone — probably my mother’s friend — anonymously called Child Protective Services, and a social worker showed up at our house.

“He has a temper.” That’s what we called it when he threw my ceramic piggy bank at me one evening while I was sitting on my bed, doing my homework. He burst into my room waving a legal pad with numbers scratched in pencil, fuming that I wasn’t willing to call my father and ask him to pay more in child support. I ducked just in time. The piggy bank hit the wall, smashing to pieces.

I told the story aloud at a Domestic Violence Awareness Month event, in the context of a 2014 TMI Project writing workshop I had co-led for women living in a domestic violence shelter in Poughkeepsie. Hearing the women share their stories struck a nerve in me. It unearthed truths and shame I’d forgotten I’d long ago buried — my shame, my mother’s, my family’s. It was almost unbearable, and I nearly quit the workshop. Somehow, though, I found the fortitude to not only stick with it, but to also tell my story to the participants. And not just the story about my step-father, but also the one about the occasionally violent boyfriend I once had a bad habit of going back to, again and again.

Letting them know that I had witnessed and experienced some degree of what they had was an instant ground-leveler. I stopped being the nice, middle-class-writing-instructor-lady with no problems coming to help them, and became one of them. They comforted me as I had been comforting them, and I was reminded of why it’s so important to overcome shame and tell the hard truth — how telling the hard truth is an important antidote to our own shame, and more broadly to the stigma associated with the things we attach shame to. It occurred to me that it’s unfair to tuck these kinds of secrets behind facades of exceptionalism and superiority, and that maybe we have an obligation to others to be more forthcoming. It starts with the painful task of being honest with ourselves, when no one around us really wants us to be.

In certain communities, we’re raised to believe we’re immune to particular experiences and behaviors, that we’re above them. That domestic violence, for instance, is low-class. That it’s just not something us middle class suburban Jews on Long Island engage in. That he’s not an abuser — he has a temper.

But it’s not true, and author Jessica Berger Gross is here to back me up on that. In her moving, fearless memoir, Estranged: Leaving Family and Finding Home, she tells the story of growing up in a middle class suburban Jewish home on Long Island just about a 10-minute drive from my own — one where her father was violent, and her mother was his silent enabler. And she tells the story of bravely deciding, at 28, to preserve her wellbeing and sanity by cutting her parents and her brothers out of her life.

I so admire her courage in revealing all the ugly truth of her upbringing, while being fair, and not casting her parents as monsters. And I appreciate her standing up and dispelling the insidious myth that domestic violence doesn’t occur in the nice houses in the nice neighborhoods.

What follows is an excerpt. — Sari Botton, Longreads Essays Editor

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Father of Migrants

Father Javier, who has directed the migrant shelter in Juárez for seven years, sits in his office among his books. Photos by Itzel Aguilera.

Alice Driver | Longreads | June 2017 | 22 minutes (5,698 words)

LEER EN ESPAÑOL

“What good is a border without a people willing to break it wide open?”
— Hanif Willis-Abdurraqib, quote from live storytelling at California Sunday Popup in Austin, Texas on March 4, 2017

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On the edge of the promised land dust storms rise out of the desert, obscuring everything, even the migrants waiting at the gate in front of a complex surrounded by a chain-linked fence topped by barbed wire. But Father Javier Calvillo Salazar is from Juárez, Mexico and he is used to it all, and to those who arrive after what is sometimes thousands of miles and hundreds of days with a collection of scars, broken bones, and missing limbs to match the inhumanity encountered along the way. They arrive weeping, they arrive stony-faced, they arrive pregnant, they arrive with venereal diseases—sometimes they arrive telling García Márquez-esqe stories of witnessing a crocodile eat a newborn baby in one swift bite.

Nicole was delivered at a hospital into the arms of her mother, Ana Lizbeth Bonía, 28, who arrived at the shelter in Juárez after spending nine months traveling north from Comayagua, Honduras. She showed up at the migrant shelter Casa del Migrante Diócesis de Ciudad Juárez with her husband Luis Orlando Rubí, 23, and her underweight son, José Luis, 2, who had saucer-like eyes that glistened with emotion. Ana, who had grown up selling vegetables in the street since the age of 4, had never finished elementary school.

The migrant shelter in Juárez is so close to El Paso, Texas that migrants feel the bittersweet pull of land they can see but likely never legally inhabit. The shelter has 120 beds for men, 60 for women, 20 for families, and one separate area where transgender migrants can stay if they choose. Most migrants who arrive at the shelter are single men, and in interviews migrants mentioned that President Trump’s threat of separating women from their children had led to a decrease in migration by those groups. Each migrant is initially limited to a three-day stay, but they can extend that time depending on their condition, as in the case of Ana, who needed time to rest and recuperate after giving birth to Nicole. Read more…

Faster Than the Speed of Sound: An Interview with Holly Maniatty

Holly Maniatty interprets at a Rise Against concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Cody Delistraty | Longreads | June 2017 | 11 minutes (2787 words)

 

Holly Maniatty is moving faster than anyone in the Wu-Tang Clan. She bounces up and down, her whole body undulates, her hands fly as she signs, her eyes flare precisely, her mouth articulates the lyrics. She is in the front row at the Bonnaroo music festival in Manchester, Tennessee, where she’s interpreting the concert for Deaf fans. The other American Sign Language (ASL) interpreter at the show looks at her in awe. Maniatty doesn’t pause.

Maniatty, who grew up in rural Vermont and holds degrees in interpreting and ASL linguistics, is a sensation in the Deaf community and among hip-hop fans. When she interpreted a Killer Mike concert, also at Bonnaroo, the rapper was so impressed with her rapid movements and visible passion that he jumped off the stage and began dancing with her. With a smile, he rapped a series of nasty words and phrases. Maniatty kept up; the crowd went wild.

Maniatty is an in-demand ASL concert interpreter and has grown in fame, appearing on late night shows from Jimmy Kimmel to Jimmy Fallon. Her skill is hard-won; for a single concert, she often prepares for up to 40 hours, to understand every aspect of the musical group she’ll sign for. She wants to provide near-perfect information to her Deaf patrons, so she learns everything: the group’s entire backlist, where they grew up, what charities they give to. By knowing the group she’s interpreting, she can more precisely — and more quickly — interpret their performance.

Maniatty wants to use her profile to bring greater equality to Deaf people. “There’s this whole population of culture in America that sometimes is easily overlooked and not served,” she tells me. Likewise, she wants attention turned not toward her but toward the Deaf performers who are breaking stereotypes of what it means to be a performing artist and what it means to be Deaf. She mentions her great respect for Deaf performers like Sean Forbes, Dack Virnig, and Peter Cook.

Maniatty and I discussed the boundaries of language, the complexities of interpreting, and raising awareness for the Deaf community. Throughout it all, she was upbeat and energetic, stressing how grateful she is to get to do what she does. Deaf or hearing, it’s hard not to look forward to her next concert.

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How did you become interested in ASL?

I had ideas about going to art school and I really felt like I wanted to be an interpreter and I went for it wholeheartedly. I was very fortunate to be accepted to RIT (Rochester Institute of Technology). The National Technical Institute for the Deaf is there so they have a large population of Deaf students. I lived in a dorm with Deaf people and interacted with Deaf people, and most of my friends were Deaf, so I was really lucky to have that immersive experience, and because of that, I gained the language quickly. Since then, it’s really been one of the fulfilling things I could ever think of in life, really.

I worked for a short time as a staff interpreter at RIT and as a freelance interpreter, and just randomly was asked to do a concert. They were having a hard time finding an interpreter for it. I jumped in and found that I really loved the work because of the preparatory process: going through the music and analyzing the lyrics, and doing what an interpreter would call “text analysis” of the intent of the speaker and, hopefully, the received message of the person you’re interpreting for. I fell in love with that process.

That was in between my two degrees, and I went back to school to get a degree in ASL Linguistics because I felt like there was so much more that I needed to know about the language before I could really do this at the highest level. The University of Rochester has a fabulous program that includes linguistics classes, brain, and science classes, but also a lot of Deaf history, and Deaf folklore, and Deaf poetry. I was able to take those classes, and it really helped build my skill. From there, I just started doing shows and patrons liked the interpreting that I was able to offer, and they requested me to do shows.


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Was that your big break?

After I moved to Portland, ME, I got involved in Bonnaroo and interpreted there, and, again, that was patron-driven: someone that I had interpreted for before asked if I was able to go to Bonnaroo, and I contacted the accessibility department there.

Starting at Bonnaroo was a big step for me because it wasn’t just one show a night. Over the course of a weekend, an interpreter at a festival can do fifteen to twenty shows in just three to four days. That was a big step for me and brought me to another level of being able to do a variety of music throughout one day. You could go from something that was more lyrical and folk all the way to something that someone would refer to as a hardcore rap show. It definitely stretched my skills, and I think built me up to be a better interpreter every single year that I did it. I just really enjoyed that.

There’s a fabulous team of interpreters that come from all over the country to do Bonnaroo so it was a great opportunity to learn from other professionals, and we had this great, little brain trust going on — learning from each other and working together and supporting each other through that process. It was one of the pivotal interpreting opportunities I had.

Where does your particular skill set lie?

That’s such an astute question. No one has ever asked me that. I think the things that most prepares me for this work is my ability to look at communication as a whole entity — almost this global package. I try to use as many different possible ways to communicate a message as possible. Obviously the sign language, but then there’s the poetic aspect of music that you’re always trying to relay and put that experience out there for a person that’s at a show.

I always go back to what I would term as “the old Deaf masters,” like Clayton Valli and Patrick Graybill and The National Theater for the Deaf and all those old things we watched on VHS tapes when I was in college — that’s how old I am. Going back to them and seeing how they creatively used their language and then incorporated that into the way you communicate as a human being. So accessing people’s visual representations of things — like if they’re talking about a political movement, what was the picture that went along with that political movement? Or what was the striking Pulitzer image that goes along with that, and trying to access that through the interpretation. I research how the performer moves, and I think that speaks a lot to how they feel about one particular song or album. You see the way they shift their body posture and even the way they’re projecting their voice can be different based on the album, which goes back to a time in their life.

The more you look at communication as a global thing — a global delivery as opposed to just looking at the language itself — you’re able to communicate things a lot more efficiently and a lot more effectively than if you were just kind of thinking, How can I translate this instrument to sign language? Music is about so many more things than that, and if you’re going from very rich and lush movement to ASL, which is also a very rich and lush medium, you want to take advantage of everything you have.

…the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for.

Is there something we can learn about translation from how you interpret ASL?

I do think that there are implications with any language — cultural implications. In Taiwan, February 14th is not Valentine’s Day; it was their February 14 Massacre so you couldn’t go from English to Taiwanese or whatever dialect you were using there and not understand the implication when somebody mentions February 14th. I think that in any language, you have to understand the cultural implications, and ASL is so deeply tied with American cultural experience.

I’ve learned, obviously, from my Deaf professors that you have to understand that cultural implication. I grew up near Canada in Northern Vermont, and on Quebec license plates, it says, “I will remember.” I never really understood that, and then I had a professor who was from France who explained to me the whole cultural implication of “I will remember,” as in Quebec will always remember their relationship as being kind of separate from Canada. So it’s interesting. If you delve into the culture of the language, you’ll have a more complete translation and one that moves people in the appropriate way.

What’s the most important part of interpreting music for Deaf patrons?

I think the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for. Ultimately the goal is that they’re feeling the exact same thing as everybody else. When you hit that interpreting sweet spot, there’s nothing else like it. You’re just like, “Yes! Mission accomplished!”

Tell us about the connection you make with Deaf patrons.

I did a Beastie Boys concert, and the patrons were really excited about it, and I worked really hard to make sure the cultural references in Beastie Boys songs and the funny puns were tangible. There are moments when everyone’s like, “Oh no. He just didn’t say that” all at the same time, including the Deaf patrons. That’s what you go for. Those are the moments when the twenty to forty hours of preparation for the ninety-minute show are absolutely worth it.

I don’t know about you, but I definitely had experiences where I’m at a concert and I think a song means one thing, and then I’m in a crowd of people and we’re all kind of feeling the same thing, and then I see the performer and I’m like, “Oh, that’s what they meant?” I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it. That’s really the challenge. You’re just setting an opportunity before somebody, and they grasp it just like everybody else.

I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it.

Why hip-hop?

It just became my thing over the last ten years of interpreting. The Beastie Boys concert was a huge education for me because I was like, “Yeah, I can do that.” And then I was like, “Wait a minute. What is this song about? Wait, who and what are they referencing?” I didn’t grow up in metro New York City so I didn’t know about the Pelham train so I had to look that up and I read all of that. And I mean that whole song has like seventeen different historical references about Manhattan in it and for someone who didn’t grow up there, that’s huge.

I ended up falling in love with the simplicity of hip-hop. It’s this really lush and diverse use of language. Everyone’s really excited about Hamilton because it’s telling a story in a more modern way, but hip-hop’s been doing that for a long time. They broke barriers. They broke social barriers, racial barriers standing for a long time. I think the masterful way that people use language in hip-hop songs is just amazing. It just fascinates me. I read everything I can about hip-hop culture. Every single time, in the same way that I feel like I learned something new about American Sign Language on a weekly basis, I’m learning something new about hip-hop on a weekly basis.

Holly shakes hands with Method Man from the Wu-Tang Clan while interpreting their concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Hip-hop is often the place where the vernacular of American English is first stretched. Are you likewise trying to expand the possibilities of ASL?

I’m a second-language learner, so I will never use ASL to one hundred percent of its potential like a native user. I understand and respect that. ASL is so complex and has so many beautiful nuances. It really is a perfect medium to translate any kind of hip-hop, just the way in which you can communicate so many concepts very, very quickly. Many of the aspects of ASL are spatial. We use first-person perspective and storytelling mode. It’s literally the perfect medium to make this accessible in a different language.

To what extent is the body a vital interpreting tool?

I think it’s super important. In preparation for a show, you have to think about the lyrical story and the story of the person who wrote it, but you have to think about the musical story too. Jay Z, in 99 Problems, uses this really awesome technique where there’s this weird static noise behind the lyrics where he’s “becoming” the cop that pulls him over. The way in which people are mixing and DJs are mixing their songs with these acoustic effects is really relayed in your body and the way you’re positioning your body in interpreting, and I think that — as much as the words — is important. The context is important, and the beat is just as important. There are some songs you know in just the first three seconds, like It’s Tricky from Run DMC. And that’s really important. If you can make your body movements equally as iconic as the music that’s written, it just enhances the access to the concert and to the musician.

What’s the most creative you’ve ever had to be when signing a lyric?

I think one challenge was when we were doing a back-to-back concert with Eminem and Jay Z. They’re very different performers, with very different approaches to the way they deliver the same genre of music. You have to be able to show that. Eminem had done a lot of sampling of other R&B like Rihanna, so that was a big challenge — to be really visceral like him and then kind of emotional like her in the same song and just kind of switch back and forth between that based on the lyrics and the hook.

I think, too, ideally as an interpreter, you’re making yourself vulnerable to whatever emotion the music is about. So there are some songs that are emotional and you have to go there, and it’s a risk. You really go the whole way and try to make the interpretation as accessible as possible even if it’s emotionally risky for you and other people there.

What do you see as your contribution to the Deaf community at large?

I hope my contribution to the Deaf community is bringing a greater spotlight to their need for access to interpreting. Not just concert interpreting — any kind of interpreting. The Americans with Disabilities Act just had its birthday; it’s twenty years old and people still struggle on a daily basis to get interpreting services for basic things like doctor’s appointments and surgeries.

I hope that somebody hears about this crazy person doing whatever concert and then looks at my page and sees maybe something about a Deaf performer like Sean Forbes or Dack Virnig and then they check out Deaf performers and then they go to their page and say, “Oh wow, this Deaf person is posting that the EDHI law is up for renewal in the United States House and that’s for early detection of hearing loss in children so that there can be ASL services and early intervention services.” There’s this whole population in America that sometimes is easily overlooked and not served.

Interpreters have an inside look on people’s lives. It’s a huge privilege being in a partnership with the Deaf community and Deaf culture. I will continue interpreting. and I will continue trying to be an advocate for access for Deaf people.
 

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This interview has been edited for length and clarity.

Cody Delistraty is a writer based in Paris. Follow him on Twitter: @delistraty.