Tag Archive: growth


Bettina Judd’s Poetic Justice

(PHOTO: Courtesy of Bettina Judd) Bettina

She didn’t go looking for poetry. In fact, it was the other way around, Bettina Judd told a packed house Friday evening at the 14th and V streets Busboys and Poets.

She was the Sept. 9 feature at the Nine on the Ninth monthly poetry event, the longest running series hosted exclusively by Hughes poet-in-residence Derrick Weston Brown.

Typically, a featured artist kicks off the event, followed by a 10-15 minute interview and audience Q&A with the artist called the BluePrint Sessions. The event culminates with a limited open mic. Bettina tore it up.

A bi-coastal Cave Canem Fellow, the Spelman College alumnus infuses her interest in women’s studies, social justice and spirituality in her poetry and visual art.

This practice echoes the point Kim Addonizio and Dorianne Laux makes in their book The Poet’s Companion: “There is a world inside each of us that we know better than anything else, and a world outside of us that calls our attention.”

Bettina navigates both her internal and outer worlds by challenging interdisciplinary scholarship and intertextual narrative through her doctoral program in Women’s Studies at the University of Maryland, College Park.

The poems she read Friday came from her dissertation, a poetic and visual exploration of body, memory and the history of gynecological experimentation on Black women in the US, and an academic and creative venture on affect and Black feminist politics in Black women’s art.

(ARTWORK: uncopyrighted image of Anarcha)

Among those poems is the “Etymology of Anarcha I” that alludes to a slave woman named Anarcha who suffered severe vaginal tears from child-birth.

The damage resulted in Anarcha’s inability to control her bowels and bladder, according to various sources. Though the speaker in “Etymology of Anarcha I” is not Anarcha, the persona suffered from a similar ordeal although she wasn’t giving birth.

The audience at Busboys and Poets tensed and squirmed in their seats from the poem’s physical details: “when the tearing came there was/ no baby in the canal but a new route:/ fistula, with a hard f like fetal/ freak, fatal, furor.”

The audience bristled at the poem’s psychological details: “i needed the f when the break screamed/ no sound from me but fire, fuchsia/ becoming an un-fuckable woman is a freedom/ the black hole of my sex, a fare/ to the good doctor I will be flesh/ which you will think brutal.”

Slave women like Anarcha, Betsy (sometimes spelled “Betsey”) and Lucy were guinea pigs for Dr. Marion Sims, who experimented on them to hone his skills in what would later be called gynecology. The three slave women’s spirits, summoned by Bettina, haunted Busboys and Poets Langston Hugh’s room.

Betsy and Lucy come alive in “The Opening”: “betsey leans in with sure hands/ slosh of seeping liquid/ lucy prepares for metal on wet tissue/ menstrual blood to urine to feces.” There’s companionship between Betsey, Lucy and the speaker, who’s also been experimented on, when the speaker says: “we are an unfortunate journey, a plunder/ darkness’s heart and treasured coast.”

(ARTWORK: Courtey of The Anarcha Project)

These psychological details intensifies the horrors of experiments done on Black women’s bodies: “[…] introduce spoon and i am sacrament/ unforgivable sin and reprieve practice/ in the dark ghetto of my body.”

These psychological details illustrated the companionship between Bettina’s speaker and the other two women:

dear lucy, dear betsey
that we three weren’t so perfectly broken
the scent of us so eagerly hunted
if our mouths, when opened up
could light our darkness

Bettina’s speaker’s handle of trauma illustrates another point Kim Addonizio and Dorianne Laux make in The Poet’s Companion: there’s no equation between good poetry and unhappy circumstances. “We each write out of our own constellation of experiences,” Addonizio and Laux writes. Last night’s reading was heavy–the weight of history so present.

But Bettina didn’t leave us there. She brought it home with her poem “Full Bodied Woman” that had women calling out uh huh! and I know that’s right! The women and men in the crowd exchanged knowing glances with one another when Bettina read:

a Full Bodied Woman gives life in edible chunks.
those who know partake. those who don’t
run to lesser women, and die of starvation.

The crowd’s shouts of affirmation got loud at this point of the poem: “from this we know She will return/ for who could  reign over a woman who/ sings I’m a Woman without apology? As in:
I am that I am.”

Bettina made us laugh during the Q & A with Busboys and Poet’s poet-in-residence Derrick Weston Brown, who started the monthly reading series six years ago. Asked how poetry found her, the poet covered her smile. “It’s a really embarrassing story,” Bettina said. “Big up to John Singleton!”

(PHOTO: Courtesy of Bettina)

This puzzled the audience until the poet elaborated. It was Janet Jackson’s character, Justice, in Singleton’s 1993 film Poetic Justice that started Bettina off on her journey as a writer.

Like her speaker with the three slave women, Bettina found companionship with poetry. So much so that it still wakes her up with the 3 a.m. urge to write. “It’s like a ghost. It knocks against your head,” Bettina said. “It kept finding me even when I thought I was through with it.”

(PHOTO: DC Creative Writing Workshop) Kiana Murphy got a full scholarship to University of Wisconsin-Madison.

Full disclosure: I’m the senior program director for the DC Creative Writing Workshop. We’re always bragging about our students. The article below features the story of one of our writing club members, Kiana Murphy, who’s got a bright future ahead of her.

Given the educational hurdles in her neighborhood, Kiana Murphy’s had to overcome a lot to make it to her first semester at the University of Wisconsin-Madison this fall. But, with the help of the DC Creative Writing Workshop, she not only accomplished that feat, but did so while securing a full scholarship.

Attaining that goal alone might seem unlikely, given the grim statistics that marked Kiana and others like her. Those educational hurdles include the 16 percent high school dropout rate for 16-19 year-olds, “substantially higher than the district average of 10.1 percent,” according to recent data on Ward 8, which encompasses Kiana’s Congress Heights neighborhood.

The Social Justice Center at Georgetown University, which collected the info on Ward 8, also found that “one third (34 percent) of Ward 8’s population over 25 did not have a high school diploma, which was about average for the District.”

Additionally, 7 percent of residents don’t even have a 9th grade education, and the Median Annual Income is $32,348, according to recent statistics. These conditions are a result of poor schools and lack of access to educational resources such as decent school books and functional libraries.

Yet, despite these hurdles, Kiana made her dreams of higher education possible. It started when she joined the Workshop’s after-school writing club in 2005. “Writing Club is a true, life-changing experience. It helped me to express feelings so powerful that they scare even me sometimes,” according to Kiana’s essay on her experiences with the Workshop.

(IMAGE: writingforward.com)

In writing club, Kiana and her peers read and gave critical responses to works of writers from various cultures and periods.

She wrote her own poems while mastering literary devices and learning new vocabulary. “I am grateful that Writing Club has become such an important part of my life,” Kiana writes.

In 2007, Kiana was among the seven students hired through the Workshop’s youth employment program, helping students resist the lure of the streets.

As a young-writer-in-residence, she assisted the writers-in-residence by providing extra support for classroom management and helping with other administrative duties. “I have had such a great time in this program—new people, new places, and a whole new life of words, stanzas, and emotions,” writes Kiana, who went on to win the Parkmont Poetry Contest.

She was also part of the Workshop’s drama club, which creates original adaptations of classical plays by reading the texts and rewriting them line by line before the Workshop brings in a professional director to help them rehearse and perform their works on a stage for the community.

During her time in the writing club, Kiana excelled in her classes to become the valedictorian at Hart and again at her high school, Friendship Collegiate Academy.

(PHOTO: DC Creative Writing Workshop) Kiana at this year’s premier of the Workshop’s “Notorious P.Y.G.”

Prior to graduating, Kiana was among five students from her high school to win a Posse Scholarship, which covers the cost of books, tuition, and her room and board at the University of Wisconsin-Madison.

The scholarship’s process—that entailed her being nominated by the school dean and sitting through three intense interviews with Posse reps—was a grueling one.

Kiana, who sought and received her Posse Scholarship letter of recommendation from the Workshop, was up against more than 1,000 other DC students for the scholarship.

But, like the hurdles in her community, she overcame the process because she had to. “This is an opportunity to get out of DC and be in a different atmosphere,” she said, during a Dec. 23, 2010, interview on FOX 5 News.

Her goals? “I’m looking at going into Psychology and English, specifically Clinical Psychology,” she told Fox 5 News. “I want to help others because growing up in my neighborhood I was exposed to a lot of things.”

Earlier this year, a gunman shot and killed Raheem Jackson, a 16-year-old student at Woodson High, just outside of Kiana’s apartment in the 1300 block of Congress Street. There have been six shootings on Kiana’s block so far this year, three of them fatal. But, like everything else, she overcame those situations and is looking forward to a bright future.

(PHOTO: Stock Image)

If you ask, Kiana’ll tell you the DC Creative Writing Workshop kept her from being a negative statistics.

“It’s made me stronger in another way, too. I am now able to speak out loud and say what I’m thinking without any fear,” writes the young woman, who’s secure in being her own person with her own opinions.

“I would also like to thank my writing instructors for helping me to find out who I am, figure out my goals, and plan my route to the future,” Kiana continued.

“Now I know why I’m here: to strive for the best, succeed in life, and do remarkable things to change the world.”

For those interested in donating to the DC Creative Writing Workshop, Please visit our website at http://dccww.org and click the “Donate Now Through Network for Good” button.

(PHOTO: Courtesy) Ernesto Mercer

Depending how one might see it, the 20th century could be something most folks around the world wouldn’t mind watching go up in smoke. For starters, there were two World Wars, Nazi death camps, the Great Depression and Vietnam.

In the great ol’ U-S-of-A alone, we had the Trail of Tears, Jim Crow, Klansmen and lynching. And if those weren’t enough, the assassinations of Rev. Dr. Martin Luther King Jr., Malcolm X and John F. Kennedy also dot that century’s timeline of atrocities.

With his Gunpowder + A Match (outbackintheshack + Carolina Jones Ink, 2011), Ernesto Mercer aims to make sure the 20th century sizzles for his global brothers and sisters.

This limited-run collection is a chapbook, meaning it’ll have nearly 40 pages and either be saddle stitched or stapled along the folded spine. It’s the oldest form of publishing that goes back for centuries. It’s an affordable way that helped writers get their work out.

These publications range from inexpensive productions to handmade editions that sell for hundreds of dollars. The inexpensive productions (between $5 and $10) helped Mercer get out his earlier work. (Read his poem “THE BEG.”) And this time around, he enlisted the help of a friend to run off a limited batch from her copier.

Poet Randall Horton, a professor and publisher, can’t wait for his copy. “I have been waiting to read something from Ernesto for a minute now,” he said. Horton’s among the writers interviewed for this story, who haven’t read Gunpowder + A Match. All each writer has to go on is Mercer’s earlier work they either heard at readings or read in literary journals and anthologies.

Horton first read Mercer’s work as an editor for the literary journal Tidal Basin Review. “I have been a big fan since,” he said of the work he published, noting that Mercer’s right on time with Gunpowder + A Match.

(PHOTO: Ernesto Mercer)

What Horton found engaging about Mercer’s work was that it stimulated on multiple levels.

“If you are a fan of Adrian Castro”—the Afro-Latino poet, performer and interdisciplinary artist—“then you are going to love what Ernesto does on the page,” Horton said. “Ernesto is coming from many traditions.”

Among them is Mercer’s practice as a priest in the Cuban tradition of Palo, a religion developed by Central African slaves brought to Cuba, Puerto Rico, and Santo Domingo. Those slaves, mostly of Bantu lineage, created a belief system that respected ancestral spirits and nature’s powers.

Those slaves and their belief system also inspired Mercer’s title Gunpowder + A Match. According to the religious practice, the soil, sticks, bones and other “natural objects” are believed to have spiritual powers. During the main ceremony, according to various sources, a priest places those items inside a sacred vessel.

And only the spirits of the dead, which dwell in those vessels, or Nganga, guide all religious activities performed with the Nganga.

In Spanish, the tradition’s known as “La Reglas Bantu” (“The Bantu Rule” in English). Among its several branches are the Mayombe (the oldest) and Brillumba. Mercer’s a Mayombe priest with rights in Brillumba. As a Mayombero, with 23 years in the religions, he’s the priest of Nsasi—the god of lightning, fire and explosions among other things.

(PHOTO: Ernesto Mercer)

Where the title Gunpowder + A Match fits into all of this is the intense healing ceremony that requires Mercer using gunpowder to draw intricate patterns on the ground. “These designs are usually only seen by initiates and those who seek the healing of Mayombe,” he told me in a recent interview.

Due out in September, what Mercer called “a nice-sized plate of poems” will be available to everyone, not just initiates. It’ll be available for those seeking a healing from their 20th century wounds that, for many, resulted from the rise of illegal drug trades both globally and in America’s urban neighborhoods.

The remnants of that 20th century era, for many, are the loved ones still strung out on or that died from crack and heroin. Mercer raises the issue in “e-FLAT BOOGIE,” a poem from Gunpowder + A Match, in which the speaker is a ninth grader digging on M, an older sister of a former classmate.

“Every dude/ loved M + she/ knew it,” Mercer’s speaker says in “e-FLAT BOOGIE.” M’s a ‘hood honey who uses what she’s got, and takes advantage of the speaker’s feelings by telling, instead of asking, him “to walk her to/ the store.” To which the speaker’s accommodating.

On their way, Mercer’s speaker is confronted by some unsavory elements of the drug game, in which the speaker likens the dealers to pimps: “& even with/ Star Crystal &/ Mary Jane/”–cocaine, crystal meth and reefer (or weed)–”working right/ across the street/ the guys still/ hated me anyway/ walking with M.” And fortunately for the speaker, the hate didn’t go beyond the dealers’ angry stares.

(PHOTO: Mignonette E. Dooley) younger Ernesto Mercer

Gunpowder + A Match will also be available for those curious about Mercer’s whereabouts for the last decade. It was the poet’s attempt to heal himself while he figured some things out about love, lust, loss, anger and fear. “I hope readers follow me through a few obsessions, ruminations and preoccupations,” Mercer said. “I hope they are willing to wander with me through the vagaries of my voice and voices.”

That journey resulted from the poet almost losing his voice around 1999. At that time, Mercer stopped publishing consistently after completing his third fellowship with the Cave Canem summer retreat for writers of African descent. He published poems here and there in literary journals and anthologies until his responsibilities took over.

At the time, his hands were full, working as a welfare case manager in DC. Additionally, Mercer was seven years into a 14-year apprenticeship to be a Mayombe priest, learning Creole while studying plants and herbs, along with chanting, dancing, divination and more from his priest-teachers.

Even still, he thought about poetry a lot and where he was going with his. “I discovered that I could not write the way I heard the poems in my head,” he said. The job and his apprenticeship (which had him bouncing between DC, the Bronx and Brooklyn’s Bedford-Stuyvesant neighborhood on the weekends) made that difficult.

That’s when Mercer knew he’d have to do something about the outside demands sapping his creativity. “Over that time,” he said, “I’d write for myself and challenge myself.”

And given that the playwright, poet and essayist Jay Wright and the African Diaspora influenced Mercer’s older poems, Sharan Strange got excited at the news of Gunpowder + A Match. “The title of the collection is provocative,” said the senior lecturer in Spelman College’s English department.

(PHOTO: Courtesy)

Strange can’t wait to read Mercer’s new collection. “I’m expecting that he wants to provoke, perhaps even explode the usual responses to his work, or address some smoldering issues in this contemporary sociocultural moment.” She added, “I hope the community will be open to the work, engage it, and talk back.”

Challenging himself, Ernesto Mercer reemerged in the arts scene with three performances at the Smithsonian Institution’s Museum of African Art that included a libretto for Ayo Ngozi’s “Fela 70” and two productions with his long-time collaborator and partner Tosha Grantham in “The River Never Rests/Man Unda Wata” and “Nnandi and the Hunter’s Shirt.”

And just when it seemed he got his rhythm back, Mercer almost lost it again around 2009. He’d sent some poems to an interested publisher, thinking his work would reach a larger audience.

Instead, they sat on a shelf, collecting dust. “Sometimes it seems that folks like or want my work, and then don’t know what to do with it,” Mercer said. Of that time, he added, “I don’t hear or know what happens to my work sometimes.”

It didn’t take Mercer long, however, to hear something after regaining his work from the publisher and sharing them at readings. “I kept getting asked by audience members and fellow poets: ‘Where can I get these poems?’” he said. And with that enthusiasm, the poet knew what he had to do.

Since the announcement posted two weeks ago on various blogs, it created an ongoing buzz among writers. “As with any poet who has shown skillful and harmonious eclecticism…I am certainly paying attention to how and where Mercer guides me in his collection,” said Ashaki M. Jackson, a social psychologist and poet residing in Southern California.

(PHOTO: Courtesy of Ernesto Mercer)

“As a writer who is generally impatient in life, I’d also enjoy seeing what a meditative writer has to offer through his exploration of self in the world, in others, in spirit, in love, and in other spaces.”

Jackson noted that Gunpowder + A Match will be part of a recent wave of fresh writing from poets of color. It’s the result of organizations such as Cave Canem, Kundiman, VONA and Callaloo—literary institutions of color using their skills and resources to help marginalized writers.

Mercer’s new collection is also, for Jackson, “an important part of what should be an increasingly consistent stream of publications from these writing communities.”

The social psychologist and poet hoped Gunpowder + A Match will be a strand woven into both the national and international literary fabric. Mercer’s voice, according to Jackson, “is one that resonates at the street-level and the God-level.”

Derrick Weston Brown, who recently read with Mercer at Busboys and Poets’ Sunday Kind of Love reading series, agreed. “His poems are unlike anyone else’s, and that’s the good thing,” said the educator and poet-in-residence at the 14th and V streets Busboys and Poets. “His voice and his subject matter are distinct. They come from an older D.C.”

And while that era’s fondly remembered by lifelong residents for the abundance of black-owned businesses and tighter communities, it also had its negative elements. Going back to “e-FLAT BOOGIE,” Mercer’s poem is a portrait of a DC, where prostitution once defined 12th and 14th streets NW: “too many girls/ on 14th St so/ 12th & Que/ got to be the Ho/ Stroll extended,” according to Mercer’s speaker.

And though M, the ’round-the-way honey, was known for “cussing/ out bamas for/ 4 hot blocks,” she’s still a lady. So much so that the speaker places her above those on the stroll. For him, M wasn’t just an object of attraction, but a mentor.

(ARTWORK: Jermaine Rogers) Afro Punk art

The way he’s treated by M informs how he treats her baby sister S, who he knows was “crushing on” him. “I could tell M/ liked the way I/ was carrying it,” according to Mercer’s speaker, “just let her hang/ a thing I’d picked/ up from M herself/ how she’d say/ to walk her to/ the store…”

While walking to the store, M asks the speaker about his new school. The speaker tells her he’s “thinking/ about getting/ a Mohawk &/ joining this band.” Mercer gives the reader another glimpse of the negative elements from the “older DC” when they hit Logan Circle: “we/ could see bumper to/ bumper on the/ inner & outer lanes/…all slow riding/ to check the girls.”

That’s the D.C. poet-in-residence Derrick Weston Brown learned about after moving there in 2001 for grad school. That year, the Charlotte, North Carolina-native stumbled upon the tail-end of Mercer’s Afroche reading series and workshop at the now-defunct Kaffa House, once in the 1200 block of U Street NW.

After hearing about Mercer for the first time, Brown unsuccessfully tried to hunt down a copy of The Black Rooster Social Inn, an anthology that included poems from Mercer, Brandon Johnson, Joel Dias-Porter (DJ Renegade), Renée Stout and Gary Copeland Lilley—all of whom made up the “Black Rooster Collective.”

Brian Gilmore’s also from the “older DC.” The poet and public interest lawyer noted that Mercer’s been M.I.A. for a while, and hoped that Gunshot + A Match will change that.

“Hopefully, this will mean he will be out and about with the poets somewhere for a minute,” said Gilmore, who’s known Mercer since the late 80s. “It is always a big deal when Ernesto puts out work or performs,” Gilmore said of that time.

Of Mercer’s new chapbook, the poet and public interest lawyer said, “I am just anxious to read the work and experience it as always.” Gilmore added, “He is going to take you somewhere and it is not where you think you are going either.”

(PHOTO: Courtesy of Ernesto Mercer)

And Ernesto Mercer’s aware of how that might affect some readers. “There’s a lot that folks won’t like in here,” he said. “But I’ll let some of that be a surprise. There’s enough stuff in the poems to get me shanked.”

Though Mercer’s from another time, the poet-in-residence Derrick Weston Brown said, “His spirit is young, and so the poems have vitality and urgency.”

Brown noted that both qualities were essential to preserving the history of a city whose demographic is rapidly changing. “His poems make the reader remember as well as be mindful of the community that exists and is ignored at the same time,” Brown said.

Gunpowder + A Match will make up for what Brown couldn’t hunt down his first year in D.C. “I get a second chance to hold a physical collection of Ernesto’s newest work,” he said.

Those interested in snatching up Mercer’s new collection can pre-order their copies from PayPal (read Ernesto’s 4 easy steps to pre-ordering GUNPOWDER + A MATCH), or from Mercer himself (either in-person or through his Facebook page). “When they’re all gone, they’re all gone,” Mercer said, noting that neither he nor his partner is trying to be a publisher.

“No reprints and no reruns. This is it and out,” said the man who’s currently busy preparing with a band for an evening performance in the Smithsonian National Museum of African Art’s exhibit “Artists in Dialogue 2: Sandile Zulu and Henrique Oliveira.”

The performance, “Match + Wood,” takes place Oct. 22. “I’m back,” Mercer said, ready to travel the country with his Mojo-swagger.

“I’ll ride the Chinatown buses up and down the Coast, read at open mics—featured or not, known or unknown—and, as I did when I was younger, have my chapbooks in my bag.” Oh, he’s back, alright. And, according to Mercer, “That word is bond.”

What Gets Lost In Pseudonyms

(PHOTO: Stock Image)

Nearly two years ago, I was laid off from my job as a staff writer for a black-owned newspaper in Baltimore. I didn’t cry or worry about my finances.

I gathered my stuff quietly. (My co-workers didn’t know then they wouldn’t see me again.) Once in the back parking lot, I jumped for joy. No more working nearly 12 hour-days for eight hours’ pay. No more being forced to work over the weekend with no compensation.

I called and broke the news to family and friends, one of whom suggested I start this blog. “Build your own archive, yo,” that friend told me then. And even before my first post went up, I knew it was important to blog under my real name.

I couldn’t have known then that a job I took at the DC Creative Writing Workshop as a substitute writer-in-residence would turn into a senior program director position. At the time, I was on various job sites still trying to find work in communications.

My blog became a portfolio I sent potential employers to by mentioning it on my résumé and cover letters. It kept me current, which is what communications professionals want. This blog was my answer to the ubiquitous question: So what have you done during your unemployment?

Blogging anonymously would have killed my credibility as a journalist. And that decision affects just about every sector, including nonprofits. On her blog post “Shine While Your Light’s On: How to Build Your Personal Brand by Starting a Blog,” Rosetta Thurman elaborated on the benefits of blogging under her name.

(PHOTO: Stock Image)

“I thought about blogging anonymously at first…But being anonymous would have defeated the entire purpose of blogging for personal branding,” wrote Thurman, who worked in the nonprofit community for more than eight years as a fundraising professional and leadership development practitioner.

Blogging under her name gave Thurman a reputation that, even four years since she started her blog, still speaks for her when she’s not around.

She recounted a story about a holiday party she went to on a December night in 2009. “I’m an extreme introvert, so I really don’t like going to parties unless I think that someone I know will be there,” Thurman recalled. “The biggest benefit of being a popular blogger, though, is that now when I go to nonprofit events, people know me. I don’t have to know them.”

She added, “And the best thing you can do for your nonprofit career is to make sure lots of people know who you are.” Thurman’s reputation spoke loudly enough for her four years ago to make it possible for her to start Thurman Consulting, an education company that specializes in leadership, entrepreneurship and social media initiatives. That reputation’s allowed her to become an author, trainer, speaker and coach.

Her life might have been different if she blogged anonymously. “If no one knew who was writing the articles, I would have reaped absolutely no benefit to my professional reputation,” Thurman wrote. It was also about courage for her. “I had to learn how to stand up for my ideas no matter what people said about me,” she wrote. “That’s part of being a leader. It remains my greatest leadership experience that I’ve had through my blog.”

(PHOTO: Stock Image)

Going back to credibility, blogging under my name and being as thorough as I can in my research and reporting has granted me access to press events that allowed me to share information with my readers.

And because of that access, my blog topics range from medical experts’ updates on H1N1 Flu and DC youths speaking out about school reform, to foster teens advocating for better services and poets rising for better public school libraries, to Step Afrika! bringing the house down and a summer program that educates teens about African films.

My personal brand resulted in me being invited by the Philadelphia Association of Black Journalists to speak as a panelist on cultural issues. I was even a consultant to a journalism grad student, who was working on a class presentation about communications and social media.

Like Thurman, I made a conscious decision to be courageous and stand by my ideas no matter what people said about me. It’s also a good career move, according to Penelope Trunk.

That’s point #2 out of five mentioned in her blog post “Blog under your real name, and ignore harassment.” As she puts it, you already spent so much time learning a topic and becoming an expert. “But how can you get credit in your field for this expertise if you blog under a pseudonym?” wrote Trunk, whose career advice runs in 200 newspapers.

So what if you’re worried that blogging under your real name on your personal blog will jeopardize your corporate job? She has an answer for that, too. “Check out Steve Rubel. He is employed at Edelman and is sort of inventing the wheel as he goes along,” Trunk wrote. “He makes mistakes very publicly, and we all learn from them, and he’s a great model for making a blog and a corporate job work together.”

(PHOTO: Stock Image)

Trunk, who started blogging 12 years ago, knows first-hand the hassles of blogging under a pseudonym. Since her college days, she’s changed her name three times. Born as Adrienne Roston, Trunk changed her last name to “GreenHeart” after being influenced by the feminist movement in school.

The second time she made up a name was to slap it on her master’s thesis, a collection of short stories. At that time, Trunk was working at a software company. Despite the master’s thesis winning an award, Trunk’s boss–who, until then, was supportive of her writing career–considered the stories embarrassing since he thought they were pornographic. He warned Trunk that if she put her name on the thesis, it could jeopardize her promising career in corporate America.

The third and last name change wasn’t of her own doing. The editor at Time Warner, her first job as a columnist, assigned her the pen name “Penelope Trunk”. Juggling two identities wasn’t easier once her columnist job became full-time. “I thought of writing under Adrienne Greenheart, but I already had too much invested in Penelope Trunk,” Trunk wrote. “That’s who people had been reading for three years. It was too late to change. So I posted my photo by my column and I became the name officially.”

Juggling two different emails—one for each name—proved just as difficult. “I was always forgetting which email client I was in, and I sent email with the wrong name on it all the time. And surely you know that people delete email from names they’ve never heard of,” she wrote.

On the phone was no better. “I also had a lot of people calling me…and hanging up when they heard Adrienne Greenheart on my voicemail,” she recalled. “So I took my name off my voicemail.”

Going back to credibility, Trunk’s third point was that blogging under a pseudonym defeats the purpose of networking. “People were very unsatisfied to hear that they thought they knew me but in fact I was not giving them my real name,” she wrote. “And people who were just getting to know me got hung up on the name issue – they couldn’t believe that I was so well known by a name that wasn’t my name.”

(PHOTO: Stock Image)

She lost some of her readers’ trusts. “Having a pseudonym is like having a wall up between you and everyone else,” Trunk wrote. “It doesn’t have to be that way, but that’s usually how people perceive it when they find out.”

I don’t know about you, but I don’t take my readers’ trusts for granted. However, there are some who will argue the benefits of blogging anonymously. “The downside to naming your blog after yourself is that it can eventually become a prison,” according to Remarkablogger’s post “How to Brand and Name Your Blog.”

“As soon as you shut your mouth, there is no personal brand,” according to the article. “If you stop blogging, you stop existing.”  It goes on to note that blogging under your name makes it impossible to hire a team of writers to take over when you just don’t have it anymore. “Me, personally? I don’t want to be that guy,” the article stated. Me, personally?

The advantages of blogging under my name far outweigh the disadvantages.

At 30, I’m OK Being Unhip

(PHOTO: Stock Image)

While teaching in an after-school program one evening, Epiphany walked up and punched me in the face. It happened in the middle of a writing exercise I gave my students. The enthusiasm of some had them writing right away, while others sighed and laid their heads on the desks.

One of them rolled her eyes and said, “I’m guh!” To which I said, “You’re what?” As the students laughed, unwilling to tell me what it meant out of concern that an outsider will know their coded language, I felt every bit of 30—and some.

I thought of when I once sat where they were, laughing with my friends at the strained expression on our teacher’s face. We used a word she wasn’t familiar with and she asked us what it meant. Instead of an explanation, all she got was us laughing and pointing at her just like my students’ response to my unsuccessful efforts at getting one myself; these middle school kids weren’t talking.

I had to ask a high school student, who’s among the few that come back each year to their alma mater to hang out with their friends at the workshop. When she told me what it meant, I wondered how did this happen? How was it possible for a member of the hip hop generation to be anything but?

I don’t know if that was what Sophocles meant when he said, “A man growing old becomes a child again,” that no matter how old we get life still has a thing or two to teach us. Another thought crossed my mind. When I sat where my students sat, 30 seemed so old it was depressing. At the time, my friends and I asked each other, “Is there anything to do after 30, besides die?”

At the time, our thinking was that you had fun in your teens, settled down in your early 20s, then got ready for old age after 25. If only someone told us then that growing old, as singer and actor Maurice Chevalier once put it, “is the reward of a well-spent youth.”

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If only we knew then that old age wasn’t the “sad and melancholy prospects of decay,” but the “hopes of eternal youth in a better world,” as Chevalier puts it.

Since then, I’ve learned better than to fear what comes after 25, even if it means being as unhip as we once thought our parents were. That day in the after-school workshop wasn’t the first time Epiphany smacked me over the head.

She did it a year earlier, when I was giving a young woman a ride. The woman worked under my fiancée at a nonprofit advocacy group. That day, everyone was in a festive mood after pulling off the first-ever youth-led hearing that addressed the issues of foster teens aging out of the system without proper supports.

I was proud of all the teens who testified that day in the council chamber. They had the ear of DC Council Member Tommy Wells, who chaired the Committee on Human Services, which is responsible for welfare, social, and youth affairs.

The young woman and I were on our way to the restaurant where everyone else was waiting. She sat in the back, nodding to Pharoahe Monch, Cannibal Ox, and a slew of other underappreciated emcees I had playing through my stereo.

I felt good putting a 16-year-old on to some real music. Watching her in the rearview mirror, I smiled at how she seemed to enjoy what she was hearing. I smiled at the thought of being 29 and still hip—that is, until she said, “I think it’s cool when old people listen to hip-hop.” And out of nowhere, came the scratching sound of a record needle across vinyl grooves.

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When I told her 29 is not old, she rolled her eyes and said, “Oh, OK.” I guess I shouldn’t have taken it personal, considering Betty Friedan’s wisdom. “Aging is not lost youth,” the writer and activist once said, “but a new stage of opportunity and strength.”

That day in the after-school workshop was also Epiphany’s way of reiterating her message. The word “Guh,” according to the high school student, is a term used in the DC-Maryland-Virginia area to express when someone or something frustrates you.

So, I made my students “guh.” Even Mr. Hip-hop—with his ability to recall every rhyme from his favorite emcees; who played his music loud inside his car, sometimes with the windows down—couldn’t escape becoming his parents. Or that teacher back in middle school, who frustrated my friends and I because she pushed us to produce our best work.

When I told my students, “I’m sorry for making you all so guh,” they looked at one another before busting a gut. And given what Epiphany’s shown me, I don’t feel so unhip despite their comments. “Nah, Mr. King,” they said, still laughing. “It don’t sound right when you say it.”

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