Nesting Eggs: Planet/Language/Culture/Community/Family/You

The Poetry of Everyday Life
Blogpost #16

Making the Case for City Lore

The interview was ending. I was anxious to get on with my day. But the interviewer had one last question. It came out of the blue: “So what is your hope for the future?” 

As I pondered the question, it occurred to me that there is something even more precious to me than the goals I work toward as the director of City Lore, New York’s center for urban folk culture. Founded in 1986, City Lore works to preserve places that matter, highlight the work of traditional artists, document stories, bring community-based and folk artists into schools, project poems from our POEMobile, and operate a gallery. Our mission is to foster New York City—and America’s—living cultural heritage. All these are, in themselves, reasons to go online and join City Lore this very moment.

Yet my hope for the future, and the reason City Lore is central to our collective future and worthy of your support, goes beyond this mission. My hope is that each soul whose existence happens to manifest itself on the planet will continue through the generations to bring something new into the world, to retain their individuality, to develop their own sense of humor, and to tell their unique story in a distinctive way. Indeed, I was inspired to become a folklorist because of the expressions and humor I share with my brothers. (We still address one another with “Yo, Sire”; and when someone once asked my brother Murray why, he answered, “Respect.”) These expressions were the “language of us,” as the writer Virginia Randall notes.

Joseph Albert Elie Joubert from Quebec’s Abnaki tribe suggests that “the secrets of our culture lie hidden within our language.” I have come to think of the layers of our existence as the set of nesting (matryoshka) dolls that sit in my tchotchke cabinet at home. I imagine the doll within a doll within a doll, first created in Russia in 1892—or the similar brightly colored eggs—as our fragile blue-and-green planet, nesting diverse languages, nesting diverse cultural groups, nesting communities, nesting families, and, finally, nesting the smallest doll, the distinctive individual. Today we witness a corporate assault on each and all of these meaningful layers of our existences.



Languages nested in our blue-and-green planet. Half of the world’s languages will disappear in this century. Scholars have shown that the areas of the world where languages are disappearing are often the same once-isolated areas where plant and animal species are disappearing. So there is a simultaneous assault on our planet egg and the languages nested within it, a connection between species diversity and language diversity.



Cultures nested in language. An ancient but renewed clannishness and demonization of our fellow human beings, fueled by social media, pits Americans against one another. Racism and xenophobia disparage cultural diversity, while anti-immigrant policies seek to strangle multiculturalism and cultural variety – a variety that has thankfully been replenished by successive waves of new immigrants who, since our nation’s founding, have been one of the most important wellsprings of our distinctly American creativity and renewal.



Communities nested in cultures. Our local  communities are threatened with gentrification that erodes the economic, age, ethnic and cultural diversity of neighborhoods, often tearing apart the fabric of community.


Individuals nested in communities. And then there’s you and me, the nested individuals.


Today, corporations are continually merging into larger and larger entities and increasingly dominating both the global economy and our individual lives with their relentless adherence to the bottom line. On the global scale, they are willing to sacrifice the planet for profit, but their assault affects us on a subtle, personal level as well. If they can put you and me in boxes, know what we watch on YouTube, try to sell us anything we’ve ever googled, they can customize their marketing such that they can shape our tastes and nudge us into market categories, slowly shaping who we are and how we behave. Capitalism runs on homogenization. 

In this new world era, governments are viewed as corporations (small ones at that), and we the people not as citizens, but as consumers. The nuances of art threaten to become simply “content” produced by “creatives” for large corporate entities. From their perspective, minority languages, climate change, diverse cultures, and individuals with unique tastes and personalities are simply hindrances or distractions brushed aside for short term gain.  

So, as poet Mary Oliver asks, “What is it you plan to do with your one wild and precious life?” Our job as individuals is to push back, to fight against an assault on the nested layers of our civilization: for a clean planet that sustains diverse life forms, for diverse languages, for diverse cultures, and for diverse communities and families, while at the same finding meaning in our limited time on earth. On top of everything else, our job must also be to protect, maximize, and treasure our own personhood. In the virtual world, people live on their phones rather than in physical places, and develop relationships online rather than with the their neighbors. In this new world where we are continually bombarded with ever-more-subtle advertising, we are tasked with sustaining our sentience, interiority, and free will. “There will be no one like us when we are gone,” wrote British neurologist, naturalist, and historian of science Oliver Sacks when he was diagnosed with terminal cancer, “but then there is no one like anyone else, ever. When people die, they cannot be replaced. They leave holes that cannot be filled.”

Steve Zeitlin with his nesting dolls. Photo by Amanda Dargan.

In spite of everything, I still believe that there will always be people in search of authentic experiences, art forms, and traditions, created and shared person to person, expressions of individuality nested within cultures and traditions. People will return to those experiences because that’s where meaning lies. It is there that personal, family, community, cultural, and linguistic diversity is expressed. That’s why City Lore is still here—you can access that distinctiveness and singularity by attending any of our programs.

In addition, the work that we and our colleagues in folklore and related fields do and have done to document and preserve folk and community traditions can serve as touchstones for the creativity of future generations. Today, you can find yourself in the diverse cultures, communities, and languages that we share with you at City Lore. The deeply rooted experiences may give us the tools and reasons to fight back.

My hope for the future is bound up with language and an appreciation of cultural diversity. Is that more important than world peace? Perhaps not. Yet if the planet ever does become a “peaceable kingdom,” here’s hoping it’s not because we have been corporatized into sameness but because we have learned to communicate across differences. 

You can join City Lore – “a practical application of a utopian endeavor” – by Clicking Here for the membership form.  You either send it back to us or click on the donation level that will take you to PayPal.



Naima Rauam reading Steve’s book.

“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.


Dividing Up the World: Two Kinds of People

The Poetry of Everyday Life
Blogpost #15

Sitting next to me at a bookfair, a poet told me that the kindest thing his father ever said to him was, “there are two kinds of people in the world, and you’re neither one of them.” I was reminded that my wife, folklorist Amanda Dargan, once collected examples of dividing the world into two kinds of people in notebooks that have sat on our bookshelf for some thirty years. I pulled them out for this month’s Poetry of Everyday Life blog. 

And well I should because, after all, there may be two kinds of people in the world, but Amanda, City Lore’s Education Director and our guest blogger, to her credit, is definitely neither one.


Dividing Up the World

by Amanda Dargan


Illustration by Eva Pedriglieri

I grew up on a farm in Darlington County, South Carolina, and one day my father, Lucas Dargan, announced that as a sideline to his work as a forester he planned to start raising chickens and selling the eggs. At the local feed and seed store where he went to buy supplies, he got into a conversation with the owner. “Lucas,” the owner told him, “you know, there are two kinds of people in this world, those who want to get into the chicken business, and those who want to get out.” 

Years later, when I was a graduate student in folklore at the University of Pennsylvania, I started keeping a notebook of these everyday expressions that I heard or found in conversations, newspaper articles, and books. My father, always a rich source of these and other expressions, gave me another example. On returning from a trip to Italy, he told us about a harrowing taxi ride in Rome and the driver’s response to his concern about the speed and recklessness of the city’s drivers, “There are two kinds of people in Rome, the quick and the dead.”  A similar expression is used to describe two kinds of men–“ the quick and the wed.”

Amanda Dargan. Do you unroll toilet paper from the top or from the bottom?

At the same time I became interested the rhetorical tactics these phrases employ. The “two kinds of people” expressions my father reported are  examples of one of Aristotle’s three laws of thought, the law of the excluded middle. The chicken business expression leaves out precisely the category my father wanted to be – someone who enjoyed and was successful in the chicken business. It also leaves out people who have never considered getting into the chicken business. The Rome taxi driver’s “quick and the dead” expression leaves out the category of those who drive safely and survive.

In addition to the excluded middle, dividing the world expressions often employ the strategy of foregrounding a detail that divides a wide swath of human personalities into two types, often using a mundane behavior to illustrate a larger personality type. Alan Guignard, a friend who was part of a group I travelled with after college, complained that there are two kinds of people in the world, life saver suckers and life saver chewers. He was a life saver sucker, and we, his traveling companions, who gobbled through a whole pack of life savers while he still sucked on his first one, were life saver chewers. Life safer suckers, he declared, are more deliberate, frugal, inclined to delay gratification, and stick to a plan. Life saver chewers, on the other hand, are impulsive, seek immediate gratification, live in the moment, and scrap the planned itinerary when they see something they find more interesting. 

“There are two kinds of people,” our friend Holly Cutting Baker declared, describing another character trait that embodies a larger personality type,“rumpled and unrumpled.”  Rumpled people look rumpled no matter how much they iron their clothes. “I’m definitely a rumpled,” she said. “Unrumpled people look neat even if their clothes are rumpled.” Steve Bannon, for instance, would be a rumpled; Barack Obama, unrumpled.

Not all dividing the world expressions are binary. Others divide the world into three or more categories based on their approach to a common behavior. John M. Richardson, Jr. once claimed, “When it comes to the future, there are three kinds of people: those who let it happen; those who make it happen, and those who wonder what happened.”

Some of these expressions are built around a tautology. James Thorpe claimed there are those who love to talk, and those who hate to listen, modifying the more common expression those who love to talk and those who love to listen, and suggesting that the later category does not exist.

Some divisions signify absolutely nothing more than a difference in habitual behavior. My friend Craig Schaffer once told me that there are two kinds of people, those who eat artichoke leaves with their top teeth and those who eat them with their bottom teeth. Similarly, another expression divides the world between people who pull their toilet paper from the bottom and people who pull it from the top. Those divisions don’t seem to indicate larger personality traits, just habitual behaviors, and they also exclude the middle category of people who aren’t so set in their ways and may choose to vary the way they scrape artichoke leaves with their teeth. 

For philosophers, mathematicians, and logicians, these dividing up the worlds can be expressed in mathematical terms. The law of excluded middle is written by the mathematician Charles Sanders Peirce as {(x → y) → x} → x.  I won’t attempt to explain.

For folklorists, dividing-the-world expressions are a form of verbal play. They are a way of simplifying the complexity of human beings, often by drawing on stereotypes, by putting them into distinct categories in order to persuade, express an insight, or argue a point of view with wit and humor. For example, optimists and pessimists are described in a popular expression as those who say the glass as half full, and those who say it is half empty. My daughter Eliza suggests a different way, which is not included in this binary expression: If you take an empty glass and pour water into it, it’s half full. If you take a full glass and pour water out, it’s half empty. A friend, Carol Klenfner, quoted a man who told his grandchild: “You ask if the glass is half full or half empty?  What does it matter? It’s such a beautiful glass.”

Some dividing-the-world expressions create a false dichotomy to stake a claim or denigrate a category of people. For example, those who love the art or music of, say Beyoncé, and those who have no taste. When Steve told his father that he was planning to teach high school, his father said, “There are those who do, and those who teach.” And one cynic added, “those who teach teachers,” as if those in this category were somehow on a still lower rung of the ladder. At City Lore, in fact, we do teach teachers and consider it a high calling.  

On reading this the folklorist Phlip Nusbaum reminded me that There Are Two Kinds of People in the World was also the title of a song by Little Anthony and the Imperials back in the 1950s. (That’s the group that sang the hit Tears on my Pillow.)  It goes:

Just two kinds of people in the world
why can’t we fall in love

The tendency to divide the world into opposites has itself become an expression. The American humorist Robert Benchley is credited with the expression, “There are two classes of people in the world: those who constantly divide the people of the world into two classes, and those who do not.” Hmmm, which am I?  Another claims there are two kinds of people, those who live life and those who ponder it. If you’ve read this far, you must be one of them.`

After a few years of considerable frustration, my father did get out of the chicken business, but not before he inspired a way of dividing the world in our nuclear family that has become a favorite Dargan-Zeitlin family expression to use when someone gets too bossy around the house. When my youngest sister Rosa was a child, my father asked her to do a household chore. She resisted and asked, “Why?”, to which he responded, “Because I asked you to, and I’m the boss.” “You’re not the boss of the house,” she told him defiantly. “Momma’s the boss of the house. You’re the boss of the chicken house.”

Please send your Dividing up the World examples to


Naima Rauam reading Steve’s book.

“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.

Time All At Once

Carrie’s Cosmic Seder

Poetry of Everyday Life Blog #14
To be published in the magazine Voices: the Journal of New York Folklore
by Caroline Harris with an Intro by Steve Zeitlin

Brodsky-Stein and Zeitlin Seder, 1946

After celebrating a family Seder in Philadelphia for almost a hundred years, my coterie of cousins became too dispersed, and the celebration gradually dwindled and faded away. So I was happy when Carrie Harris, my close friend and City Lore board member invited me to celebrate her family Seder in Manhattan last year. As Carrie led the symbol-laden ritual meal, we re-told the story in the familiar Haggadah booklets given to each of us. We read aloud about the Jews escaping slavery in Egypt, giving thanks that God who “passed over” the Jews during the ten plagues, parted the Red Sea, led them to freedom, and, as noted in the accompanying  Seder song, “Dayenu,” gave the Jews the Ten Commandments on Mount Sinai, and, after forty years, brought them to the Promised Land.

As is traditional at the Seder, the youngest child reads the four questions, beginning with “Why is this night different from all other nights,” but, after a few glasses of wine, a different set of questions crossed my mind. Considering the current situation between the Israelis and the Palestinians, is it productive for us to annually retell a story that points to Israel as a promised land for the Jews? Was the promise of a Promised Land actually a promise of land?  When did the metaphor of a righteous escape become a right to real estate? (Thousands of years later, politicians in Israel regularly make that claim.) Is it helpful, given the situation, for Jews all over the world to exclaim “next year in Jerusalem”?  Jesus is said to have been crucified in that city and, adding to the the contested claims, centuries after the Second Temple was destroyed, the Al-Aksa Mosque in Jerusalem became a holy site for Muslims. When the Christians talk about home they think about heaven; Jews often think about Israel. Is the Seder adding fuel to the fire?

Like the lamb shank and the bitter herb on the Seder plate, I thought about these questions as food for thought. In conversations with Carrie growing out of her Seder, she suggested that I am short-changing the story. “It’s primarily a story about freedom from oppression. It does express the hope that “next year” we will be in Israel, but it has expressed that hope for thousands of years when there has been no state of Israel and still hopes for it now that there is one.” Here’s how she tells it.

Caroline Harris

The Haggadah tells a story within a larger story, within an even larger story.  On Passover at the Seder, we transcend time. In one night, we journey into the past through the present to the future—time all at once. These time frames are tracked in the Seder:  the past before the meal, the present at dinner, and the future after dinner.  The past is very deep, reaching back not just to Egypt, and Jacob and Abraham before, but to the beginning of time.


The Haggadah reminds me of my mother. As my mom is getting older, and might be afflicted with some dementia, her stories, like the Haggadah, always start further and further back. You ask my Mom a simple question and you might find out where she – or even her father – was born to get to the answer.  For instance, if you ask her about my father who passed away almost 20 years ago, she will tell you the wonderful story of how they met. “My mother and Herb’s sister,” she would say, “both went to the same dressmaker – and one day she told them that the two of us would go great together.”

The Seder is supposed to tell us the story of the Hebrews’ escape from slavery in Egypt. But like my mother’s answers to certain questions, the Haggadah goes back to the beginning of time, to Creation, remembered when we first light and bless the holiday candles separating light and darkness to start the story.

The Maggid, the section of the Haggadah where the official narrative is recited, also doesn’t get right to the point either.  It incorporates portions of Abraham’s and Jacob’s stories that describe the growth of a tribe into a nation.

More significantly, the Maggid introduces monotheism to the Passover narrative. God’s promise of a great nation is predicated on Abraham’s and the Hebrews’ acceptance of the one-God. The Haggadah recounts all of the wonders God performed to free the Hebrews from slavery, showing the one-God’s might over the polytheistic Egyptians’ gods, through the plagues and the parting of the Red Sea.

Throughout the centuries, the Haggadah has incorporated what were then contemporary references to make the story relevant to the day, intimating that the Haggadah isn’t only about a particular place – Egypt at a particular time – but about all “Mitzrayims,” all “narrow” places, at all times.

Today, many Seders emphasize that the celebration is not only about freedom from slavery in Egypt thousands of years ago or just about Jewish history; it’s about freedom from oppression anywhere for everyone. In the 1970s, some added a fourth matzah to bring attention to the plight of Soviet Jews. Modern anti-Semitism is recalled with a reading from the writings of a Holocaust survivor and, this year, anti-Semitism and all hatred undoubtedly will be recalled by reading about the slaughters at the Tree of Life Synagogue in Pittsburgh and the All Noor Mosque and Linwood Islamic Centre in Christchurch, New Zealand.  A challis of water has joined the Seder table symbolizing Miriam’s well and the role of women in the Passover story.  Along with the shank bone, the bitter herbs and the egg, an orange on the Seder plate now stands for diversity, a tomato, for migrant workers’ rights. Thus, “Egypt” is a metaphor for any place where there is slavery, oppression or hatred.


Caroline Harris and Howard Goldman Seder, 2018

Before dinner, three different themes have been introduced:  slavery to freedom; tribe to great nation; and polytheism to monotheism.  The focus has been in the past, with efforts to make the past meaningful by reference to more recent events.  Finally, with dinner we are fully in the present.

The Haggadahs are tucked away, tossed on a couch or dropped to the floor. There is no script during the meal. We erupt in conversation. Adults find out what’s happened in each other’s lives since the last Seder. Kids run around or play with plastic frogs jumping into wine glasses.  We eat heartily, the smells and tastes reminding us of our family’s and friends’ sweet past, with a dash of bitterness about the brother who won’t join us, sadness about the aunt who died.  Yet, here we are together again, linking the past and the present.

Then the kids (in my Seder, adults, too) scramble around to find the Afikoman. That piece of matzah, raised aloft at the beginning of the Seder, will let us begin to end the Seder, once again merging the past with the present, present with the future. When we bite the small broken piece of matzah from the Afikoman, we bite reality – the reality of oppression and hardship, the reality of a broken world. Yet, we taste our dreams, our dreams of freedom and justice for us and all people.


We open the door for Elijah, the prophet who is supposed to resolve all conflicts before the Messiah comes, and we pray God will once again redeem us, hoping that whatever Jewish or humanitarian crisis we are facing this year will be resolved by next year.

But the Haggadah doesn’t end with our hope that the immediate problems of the Jews and the rest of the world will be resolved by next year, though indeed that would be, as the beloved Jewish folksong goes, “Dayenu!”–  It would be enough.  The Haggadah’s vision extends further.

Where does the story end?  A story that begins with Creation can only end in the far distant future beyond time, after Elijah, in the world to come—in “ha’olam ha’ba.” The concluding line of the Haggadah, “Next Year in Jerusalem!” is, in part, the hope for the physical place that Jews consider home. (“Hope,” in Hebrew, is “Hatikvah”—the name of Israel’s national anthem.) It also is the hope that the problems we experience today will be resolved next year.  Beyond that, “Next Year in Jerusalem!” is the existential hope that someday—in the world to come—-all of us will enter the Promised Land, the land of milk and honey. “The Promised Land” is a metaphor for universal freedom, the perfect world of peace and justice.

Just before he was assassinated in Memphis, Martin Luther King echoed the Passover story when he declaimed, “I’ve been to the mountain top. . .and I’ve looked over. And I’ve seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land!”

In one night, we journey together from Creation, through all time in-between, to the future beyond our imagination in the world to come.  We form a bond that unites us with other Jews now, with Jews in the past and in the future, linking us with all humanity to create a better world.  In the words of Theodore Parker, “The arc of the moral universe is long, but it bends towards justice.”

The message uncovered is deeply optimistic and challenging.  From the time of Creation of humankind, we have been on a trajectory towards the Promised Land of justice, compassion and peace. The Haggadah teaches us: The light of Creation illuminates our path to redemption.

But we cannot sit by idly. We must walk on that path.  We must take action like Abraham and Jacob, Yoheved, Puah, Miriam and Moses, continuously owning our freedom, striving for freedom and an end to oppression for others, and pursuing justice as we march together through human history to the Promised Land.

And then we sing.

“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.

The Gravedigger’s Tale

Poetry of Everyday Life, Blogpost 12

Born in Aiken South Carolina, raised in South Jamaica, Queens, Donnie Williams, a gravedigger, spent many long years digging his own grave.

“There was a time when I was actually looking at a death – my own,” he told me.

“When I was growing up, I was in the church – but I strayed.  I first started selling drugs when I was 13 – by 14 I started making real good money.  My grandmother would come and get me and we would go to church and then when I leave church I’d go back to doin’ what I was doin’ – and sometimes I would see my grandmother coming and just go hide so I wouldn’t have to go to church. Like my mother always says, ‘God has a way of bringing you down.’  At 15 I was doing really well. At 17, I ended up in the penitentiary.

Donnie William, Gravedigger

“They gave me 75 years to life – my mother, my grandmother and the church they worked on it and worked on it and after 2 and a half years, they got me out.

“When they finally got me out my grandmother said ‘you’re not going back to jail and you’re gonna get yourself a straight job’ My grandfather got me a job in 1980 in Beth David Cemetery. When I first started out I was just cutting grass with my grandfather. Yeah I used to walk by just to watch people dig the graves and I was wondering when it would be my turn one day –and sure enough one day I came in and a man handed me a shovel. I went in there digging like an old steam shovel.

“I started liking it so after 5 years I cut the drug dealing and stuck with the cemetery. Became honest. If you’re good at something it pays to be good at that – some people are good at writin’, some people good at photography. I was pretty decent at being a grave digger. I learned how to take a rounded spade shovel and make a square hole.“

But when my mother died and I lost my best friend I started drinking heavier and became an alcoholic, and then I became a functioning alcoholic, then I became a functioning fighting alcoholic.

Donnie Williams has mastered the art of digging a square hole with a rounded shovel.

“I used to get out there and tell the guy, ‘you don’t have to dig the grave, I’ll dig it.’  I’d go to the store and get me a six pack and I’d dig the grave 5 and half feet, a little deeper. Then I’d make a square hole down there, bury the six pack under the grave and go.

“But I knew I had to get my life together and in order to do that I had to go somewhere and find somebody and find peace in my life to make myself become who I used to be.  And that’s what happened. I checked myself into a clinic.

“I was in Odyssey Rehab and I was in there for about a year and a half going on- almost two years – and I was beating my own purpose – I was still going out drinking, tellin’ people no I’m not drinkin’, getting dirty urine but you know when I thought about it I thought it’s time to get yourself together – you came here for a reason – so I started stoppin’ little by little.

So one night I came to my room and the light was kind of dim. And there was this person sittin’ on my side of the bed—so I asked this guy, ‘you’re in the wrong room, Sir.’  He didn’t say nothin’ to me – so I said, maybe he’s sleepin’ – I said, ‘Excuse me, Sir, you’re in the wrong room – and if you don’t get out of here, I’m gonna whoop your ass.

He says to me, ‘hmmmm.’

I said, ‘Excuse me, you’re in the wrong room, Sir.’

He turned around and lifted up his head and said, ‘You don’t know me?’

I said, ‘No, I don’t know you. But you’re in the wrong room. If you don’t get up out my room there’s gonna be issues here.’

So the man looked at me, eyes red as fire and said, ‘You don’t know me?’

I said, ‘I don’t know you and don’t really give a damn.’

The man turned around and said, ‘I’m you.’

My head started spinning, really.   I had started thinking, and was thinking maybe he’s drunk.

He says, ‘I’m you.’

I said, ‘what do you mean, you’re me?’

He said, ‘I’m the drunk in you.’

‘The drunk in me?’

Couldn’t figure that one out either.

Then he told me, ‘you’re leaving me.’

I said, ‘leaving me?  If you don’t get out of my room, you right you’re gonna be leavin’ me.’

Then he turned around and told me the whole story.   He said, ‘I’m the drunk in you and you’re leavin’ me.’ And it was then I realized I had stopped drinkin’ for a whole year and I didn’t even know that God was with me then, without the bottle, without any medication. I was sober – and from that day to this day I haven’t seen that person since.

That’s a phenomenon I really would like to understand – but you know what? I ain’t in no rush to try to push it either.  I take it day by day and I let it go and if he show up again, maybe I can ask that question.”

“You know,” I said to Donnie, “you’re a great storyteller.”

“Never a storyteller.  I’m only telling you facts of what’s happened to me. Now I don’t know about anybody else. You asked me about me, and I can only tell you about me. And everything I tell you about me is the God’s Heaven truth. I’m telling you facts, not stories, there’s a difference. I don’t mind telling you because that’s part of what God put in my life.”

The grave digger’s tale is true. These are the facts.  To paraphrase the writer Virginia Woolf these are the creative facts; the fertile facts; the facts that suggest and engender.  I shared Donnie’s story with my friend, the poet and therapist, Marc Kaminsky.  “In Donnie’s story,” Marc said, “facts become images of transformation; they evoke the conversion experience through which the divided self becomes healed and whole through the intercession of grace.  His story belongs to the poetry of everyday life because he is thinking in images. Is the mysterious event in the room a hallucination or a revery or a visitation through the unconscious? The vision confirms that Donnie is leaving his drunken – his divided, dissociated – self behind; it is the revelation that leads to lifelong change.“

Donnie now has five successful children, and is gainfully employed as a grounds keeper in New York City, working with two wonderful women who “regrouped” him.  Long before he sat down with myself and filmmaker Heather Quinlan, Donnie testified to these storied facts of his life each Sunday at Peace Mission Church of Christ in Queens, elevating them to a revelation beyond storytelling, his poetic evocation rising up into the eaves, told before God and everyone – encouraging all of us to walk away from the dark side of ourselves.


“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.












The Fulton Fish Market and the Soul of Naima Rauam

Poetry of Everyday Life Blogpost 11

Fish Market, Early Morning Hours, Naima Rauam, watercolor

“I take great pleasure in getting to know something really well,”Naima told me,

and having painted the fish market for so many decades, I feel I really do know it well. I know the nuances of fish, of building interiors, of light and how it falls on fish, how everything sparkles, how shadows swallow up a journeyman. I feel my soul resided there and when the market left the Seaport in 2005, dang if my soul didn’t go with it. . .

Some would argue that the soul of a sentient being is an invisible ray of light illuminating the darkness of one’s inner self.  Others believe the soul has no shape but takes on the forms of places and people we internalize, connect to, and love. Unbeknownst to her, Naima Rauam’s journey of the soul took her from the Art Students League to the Fulton Fish Market in 1966.

I was studying at the Art Students League and had a class assignment to bring back an action painting. Someone said, “go to the fish market, there’s lots of action there.” SO I climbed on the subway and thought, gosh, all the fish are dead – there’s no action there. But I had already invested my fifteen cents on train fare, so I continued.  As I walked down Fulton Street toward the fish market, I encountered the most amazing activity. 

Naima began painting the fish market at the age of 20, and when she settled permanently in New York, she moved first into the adjoining fish smokehouse on Beekman Street where she “slept on the floor between my bicycle and computer, and my easel and art supplies. Outside I could hear all the guys in the morning and throughout the night, yelling and screaming and doing their fish thing.  To me it was just a lullaby.” Later she moved her studio into the Market’s fabled Tin Building.

When the smokehouse was sold, I went to live on the Lower East Side. I would walk to my studio in the middle of the night, through dark and silent Chinatown, toward a distant glow, which was the market. I could hear a little bit of the activity as I got closer, and then, the roar as I came upon it! It was wonderful. I could be dragging, having roused myself from sleep at three o’clock, but when I got to the market, its energy electrified me, and I was eager to get to work, to sketch and paint, and be part of the market.

Peck Slip, Naima Rauam, watercolor

The market had a nightly rhythm to it. In the evening, I saw dark streets and the night sky of course, with just a few bits of light here and there. Perhaps a second floor office was illuminated, or one storefront fish stand had some lights on. Then, little by little, more lights would go on, and by 1 o’clock in the morning the place was ablaze with spotlights and rows of fluorescents. Intense light was focused on the fish and the work areas, while just a few feet away there was darkness. It was so interesting to see… the journeymen, for instance, load their hand trucks in brilliant light, and disappear with them into utter darkness.


The Tuna Cutters, Naima Rauam, oil

Journeyman’s Fire, Naima Rauam, watercolor

There was also ebb and flow to the activity, and every night was different. You never knew what the seas and rivers would yield, nor how much. Different fish, new displays, stacks of crates without rhyme or reason, these were fodder for my artwork. Every night I’d see new compositions for paintings. I couldn’t draw fast enough, couldn’t take enough photos, but I tried. I wanted to absorb everything about the market, the way it functioned, the way it looked its color, its light. It was the light that really impressed me so much so that, now with the market gone… I’m more sensitive to light in New York City now, and sometimes I walk around or drive around town at night just to visit the light.

In the Bronx, Naima Rauam, pastel

After years of talk, Mayor Giuliani finally managed to extricate the Fulton Fish Market from its moorings at the South Street Seaport. In 2005, the market moved to a new warehouse-like facility at Hunts Point in the Bronx. “I go up there, and while I’ve done a handful of paintings, it’s hard to find inspiration. Downtown, in quirky little spaces cobbled together over 183 years, you had the likes of Al Fish and Joe Tuna dishing out their versions of the fish trade. In the new place, it seems like just so many guys in dark jackets swallowed up by one immense space of white walls and white lights. Downtown, the fish market was a way of life. It had a soul. In the Bronx, it’s just a business. So I say to myself, “well heck, I’m going to keep painting the old fish market. . . . Perhaps that’s my purpose now, to keep the memory alive of what it was downtown.”

Monet had his water lilies; Toulouse Lautrec had the Moulin Rouge; Naima Rauam has the Fulton Fish Market.

For Dick Zigun it was Coney Island, where he opened his theater and sideshow on Coney’s fabled Boardwalk in 1981. A friend, Kathryn Adisman, once said to him, “I love that place.”

“I am that place,” he answered.

When we are in the places we truly love, perhaps our deepest selves find their bearings and can sense their own presence in place. This is the place where I am who I am – I can sense who I am in the world through this place.

Beneath the images of the fishmongers with their hand trucks and what Naima calls the fish cutter’s “ballet of the hands,” lies an interplay of darkness and light, sparkle and gloom in the deeper and unseen arena of the soul. The fish sellers were scurrying about their daily hustle, but Naima was seeing the darkness and light, their shapes as they worked. They too could see it when they looked at her paintings, which a number of them purchased and others commissioned. There is something deeper going on below the quotidian that art has the power to beautify. From the bits and pieces of the urban environment that reflect the light within us, we create an architecture for the soul.

Naima put it more comically, “My Raison D’Etre is a cod.” Fillet of soul.


Naima is part of an exhibit, Waterfront Heroes, cosponsored by City Lore, Long Island Traditions, and Staten Island Arts. If you feel about a place the way Naima feels about the Fulton Fish Market, please write to  Photo by Tom Pich.












“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.




Spring Burial

Spring Burial:

The Legend of the Service Tree


Poetry of Everyday Life Blogpost #9


Serviceberry tree in bloom, courtesy New York Botanical Garden

“We grew up thinking that if there wasn’t pavement under our feet, we were lost,” Marc Kaminsky said facetiously, as he sat with his longtime friend George Getzel, who lay dying in a hospital bed at Calvary Hospital in the Bronx, talking about spring. They were two Bronx kids who morphed into two aging, brilliant intellectuals. They knew each other from their time at Hunter College School of Social Work in the ’70s. Struck by George’s tranquility in the face of mortality, Marc asked his friend, filmmaker Menacham Daum to videotape their conversation, and sent a copy to me.

In his better days, George told Marc, he’d loved to visit the New York Botanical Garden in all four seasons. Each time it would be a totally different world—the garden was a symbol of nature and birth and growth and decay.

“You discover this natural world,” Marc remarked. “You take this literal fact and use it as a symbol of immortal life.”

“I was especially close to the service tree,” George continued. “It’s an indigenous tree in northeast America. It’s a tree that’s barely a tree—it might be considered a bush—but it’s a tree. It actually fruits, it has a sweet little fruit that comes out of it when spring warms up, but it’s the first tree that blossoms in the woods. It has soft, large flower petals, light pinkish-white, and if you can reach out and smell it, the tree has the most delicate perfume—really beautiful. It only blooms when the earth around it is unfrozen.

Serviceberry tree blossom, courtesy of the New York Botanical Garden

“Our ancestors—at least the ones in North America—had a real problem when people died during the winter, because they couldn’t bury them; the ground was too hard. So what they did was wait till the service tree bloomed, and then they knew they could bury the dead because the ground was soft enough. Otherwise the bodies would have to be kept in coffins stacked in barns. That touched me deeply.

“So for the last few years, when I could still walk, I’d been trying to hit one of my holy places—the service tree. I would go into the Bronx botanical garden to walk on a trail through fifty acres of virgin forest that had never been cut, and there is the service tree, and I try—it has a life of flowering of, like, three days—so I always try to imagine, ‘Is the ground soft?’ ‘Will I make it?’ And sometimes I make it and sometimes I don’t, and the service tree’s spent flowers are on the ground, but I think that it is emblematic of my notion of immortality in life: a brief time, a beautiful fragrance, and then passing, disintegrating, falling to the ground, and renewal.”

Alone with his mortality in the hospital late one night, George spontaneously texted Marc some of his spiritual musings. Marc later lined the text out as a poem. It ended

Humankind calls out for compassion
For one’s self and then the other
The spent perfume of the petals
Of the service tree
Fall to the forest bottom
When earth loses its chill

“The last four lines” Marc told him, “sound like the poem that Zen priests wrote just before they died.” It was as if George were musing about an eternal spring, with ground soft enough to accept his body, a universe that still had a place for him even after his death.

George Getzel

“So here I am in bed, and I’m fading away, I’m losing weight, there are changes, and people visit me and they say, ‘I really want to go to the botanical gardens with you,’ and then a little sadness comes over me—’cause that’s not possible anymore.”

George was a faculty member at the Hunter College School of Social Work, now the Silberman School of Social Work for more than 30 years. As someone who avoided the limelight, he wouldn’t have wanted anyone to walk in his footsteps. “If anything I do is truly worthwhile in my eyes or in the world’s eyes, I don’t want to be copied,” he said. “I just don’t want it—I’m me, you’re you. But I do want to inspire.”

And so as spring rolls around after a bitter winter, I was inspired to call the New York Botanical Garden in the Bronx and ask if they knew about the service tree. The Garden arranged for horticulturalist Jessica Schuler, Director of the Thain Family Forest, to meet my wife and me at the reflecting pool the next Saturday. We traveled into the woods she knew so well and we stood in front of the tree George had loved. Though it was the first beautiful day of spring, the service tree had just a tiny splash of pink on the buds. Perhaps the ground wasn’t yet soft enough to bury the dead.

Checking for blossoms on the serviceberry tree, photo by Amanda Dargan

I told Jessica about George, whom I never met, and his metaphorical interpretation of the service tree. Jessica told us the tree’s Latin name was Amelanchier arborea but that it had had a variety of common names and etymologies in early North America. Shadbush because it often grows in riparian forests at the edges of rivers where the shad run. It was also called “Juneberry,” because it often fruited in June. And it was called “serviceberry tree,” because it bloomed when the ground was no longer frozen and it was time to bury the dead and hold a service.

Back in the hospital room, Marc felt that the space around himself and George was getting greater and greater, and that on the other side of that space was death, but that the space of life was also looming larger. George continued to express his deep and thoughtful perspective on life in the face of imminent mortality, making connections between blossoming and withering, growth and decay. “I remember holding my wife’s hand when she was dying,” George told Marc, “and having a great sense of intimacy, the same as when I held my hand over her belly when she was pregnant. There’s this mixture. Even in the face of the grim realities of life that nauseate you and shatter your dreams, I’ve found—with difficulty—deeper meaning.

“We all hold down to something that we would hope would have permanence,” he continued. “Something that would lead us beyond our grave and have something of eternity tied to it. We discover that the idol—be it money, position, your own children, the neighborhood you live in—it’s not forever and it falls apart and isn’t what you thought it was when you were a young man. It becomes moth-eaten and dissipates, and then with that—and here is where I think the faith of an older person, the circumstance of an older person, is useful—it’s followed by new growth, new possibilities.”

George Getzel died on January 7, 2018. The serviceberry tree he loved so well will bloom again this spring.


“By showing us that poetry lives everywhere,” writes Bob Holman in the preface to Zeitlin’s new book, The Poetry of Everyday Life: Storytelling and the Art of Awareness, “Steve seems to make the whole world into a poem, with all of us collaborating daily in the writing of it.” If you like the blog, you’ll love the book. Click here to purchase.

Please email your thoughts, stories and responses about the poetic side of life to This monthly post continues to tap into the poetic side of what we often take for granted: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. I chronicle the poetic moments in life and also look at how we all use poetry in our daily lives. I am a folklorist, and I want to hear from you—because that’s where all the best material comes from. For more information about The Poetry of Everyday Life published by Cornell click here.


Is Brooklyn J’Ouvert Dead?

Ray Allen, Brooklyn College

Following weeks of debate over new security measures aimed at curbing violence, Brooklyn’s much scrutinized 2017 J’Ouvert celebration thankfully took place without incident. But New Yorkers might have missed this news amidst the plethora of media stories incorrectly attributing criminal activity to the event. “Bullets fly at J’Ouvert: Bloodshed despite changes” barked the September 5 headline of the New York Post. Even the New York Times and the Daily News, publications that tend to be friendlier to Brooklyn’s black Caribbean community, felt obligated to list several shootings that occurred over Labor Day morning and afternoon. It seems that any violent crimes committed during the holiday weekend in central Brooklyn are now routinely linked to J’Ouvert and Carnival.

A close read of the reports, however, reveals that none of those unfortunate episodes were actually associated with J’ouvert—all occurred blocks away, before or after the event. The Post’s recounting of a shooting in Crown Heights took place at 5am, an hour before the J’Ouvert procession began, and more than two miles from the start of the parade route. The real news is that there was no reprise of the deadly shootings that tarnished the event in the previous two years.

Decisions to move the start time up from 4 a.m. to 6 a.m., along with increased police security, metal detector check points, and a no-alcohol policy, came as a result of intense negotiations among the event’s organizers, J’Ouvert City International led by President Yvette Rennie, the NYC Mayor’s Office, and the NYPD. These measures may have been responsible for a more peaceful J’Ouvert, but, as many participants asked, at what cost? The loss of the magical darkness to dawn transition, which could only be experienced with the traditional 4am start, was troubling for some. Odie Franklin, arranger for the Despers USA steelband that chose not to participate in J’ouvert this year, complained that the later time start “dishonored” the tradition of the culture. Michael Manswell of the Pagwah mas band was appalled that costumed members of his group had to be individually wanded and seemingly treated as potential criminals before entering the parade area. Many others felt that the excessive security created a police state atmosphere that stifled the spirit of the celebration. Had this year’s J’Ouvert, as the Times reported, been “sapped of its usual energy”?

Not completely. The crowd might have been slightly smaller than in past years, but there was no shortage of exuberant art and play on the streets. Fourteen masquerade bands, eight steelbands, and six rhythm bands participated in the JCI-organized competitions along the route. And there were hundreds, perhaps a few thousand, of revelers who had donned home-made, raggedy costumes accented with paint and powder. There were sightings of oil-drenched jab jab devils, mysterious midnight robbers, cross-dressing Dame Lorraine figures, and other traditional ole mas characters that have been absent from the Eastern Parkway’s fancy mas for decades. The Oil Downeres band lampooned Trump and his wall with a mas titled “Dey Showing Their True Colors.” Crowds thronged around Radoes, Pan Evolution, and the other steelbands. They wined and sang along in a high-spirited pan-on-the-road performance, another Carnival tradition that has been lost on the Parkway due to competition from deejays and mobile sound trucks. Those who played J’Ouvert mas and jumped up to the steelbands did so with unabashed enthusiasm.

Fortunately, the new security measures did not prevent the crowd from melding in with the musicians and masqueraders on the road. J’Ouvert, more than any other aspect of Carnival, has always been a participatory affair rather than a spectator sport. This in contrast to the big Eastern Parkway parade where metal barricades and police separate onlookers from the fancy mas bands and sound trucks. When what was once a participatory ritual becomes a presentational spectacle, something deep is lost. Brooklyn J’Ouvert, at least for the moment, has managed to maintain that core communal sensibility.

Now that this year’s J’Ouvert has come and gone, members of Brooklyn’s Carnival community must ask themselves some tough questions. Did the sunrise start and heavy police presence constitute a necessary price to pay for a safer J’Ouvert? Or was the original emancipation spirit of the pre-dawn celebration so deeply violated that many will opt out next year? As a non-Caribbean Brooklynite I’m not going to weigh in on that one, but as a folklorist I can offer some historic perspective. Ever since the first Afro-Trinidadians took to the streets of Port of Spain in the 1830s to celebrate their emancipation with dance/drum/masquerade processions known as camboulay (the precursor to J’Ouvert and what would become the opening of the pre-Lent Carnival), government and civil authorities have been trying to shut down, curtail, or control Carnival. In the early 1880s police clashes with bands of stick fighters led to the banning of drumming and stick fighting during Trinidad’s Carnival season. The ex-slaves responded by developing bamboo and metal percussion groups that eventually led to the emergence of the steelbands. Committees were formed to “improve” calypso lyrics in the 1920s by censoring the most lewd and offensive lyrical themes, but calypsonians continued to lampoon their colonial masters and compose ribald songs. British and American authorities cancelled Carnival during the WWII years, only to have it return stronger than ever in 1946 led by the newly constituted steelbands. Following 1962 independence, a national Panorama competition was established in part to move steelbands from the chaos of street Carnival to the more controlled environment of the Savannah stage. But many grassroots steelband men maintained their rebel persona and continued to aggressively dominate the streets during J’Ouvert.

Caribbean migrants established the first street Carnival in Harlem in 1947 only to see the event shut down in 1961 following a so-called “riot” that consisted of a handful of rock and bottle throwing incidents and an unlucky bystander being clubbed over the head with a steel pan. Carnival resurfaced in Brooklyn in the late 1960s, and came close to being shut down in 1991 following the Crown Heights riots. Over the years, the West Indian American Day Carnival Association and J’Ouvert City International have faced a barrage of hostile coverage from the mainstream media that too often characterized their Eastern Parkway Parade and J’Ouvert celebration as violence-ridden, mob scenes that threatened public safety and order—not so dissimilar from the racially and class-tinged charges voiced by nineteenth century Trinidad papers that called for the dissolution of Carnival.

History tells us that J’Ouvert has been under attack since day one. This should come as no surprise, given the ritual’s legacy of celebrating liberation from tyranny, resisting colonial authority, and satirizing the rich and powerful. So, is Brooklyn J’Ouvert dead? I doubt it, especially in these current troubling times when standing up to xenophobia, racism, and class inequity has taken on new levels of immediacy for all American immigrant communities. J’Ouvert, with its spirit of resistance, has survived for over a century and a half, and there is no reason to suspect it won’t continue to do so. Of course, exactly what form it will assume next in Brooklyn remains to be seen. Stay tuned for J’Ouvert 2018.

For additional background see “J’Ouvert! Steel Pan and Ole Mas Traditions in Brooklyn Carnival” by Ray Allen at:


Upcoming Events

    View calendar