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DOGBYTES Interview: Clint Smith

Clint Smith, Somerville, MA
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Clint Smith is a writer and doctoral candidate at Harvard University and has received fellowships from Cave Canem, the Callaloo Creative Writing Workshop, and the National Science Foundation. He is a 2014 National Poetry Slam champion and was a speaker at the 2015 TED Conference. His writing has been published in The New Yorker, American Poetry Review, The Guardian, Boston Review, Harvard Educational Review and elsewhere. He is the author of Counting Descent (Write Bloody, 2016) and was born and raised in New Orleans. Hear Smith read alongside Casey Rocheteau and John Warner Smith, April 19 at The New School.

Tell us about the inspiration behind your book, Counting Descent.

The book is born out of a moment where, after Ferguson, my political sensibilities began to shift—as I believe they did, to some extent or another, for many of us. I began thinking of the marathon of cognitive dissonance that is growing up as a young black person in this country. How does one wrestle with the ever-present tension of navigating spaces—perhaps your home, or maybe somewhere else, where you feel loved, affirmed and celebrated—and then going out into a larger world in which you are constantly rendered a caricature of someone else’s fear? The book is attempting to hold that tension, and explore how that often complicated duality shapes the experiences young black people have as they come of age.

What can poets do to promote social justice?

I always come back to an essay by Langston Hughes, “The Negro Artist and the Racial Mountain,” where he rebukes the young artist who says, “I want to be a poet—not a Negro poet.” Imbued within that sentiment is a sense that the lives, voices and experiences of black people do not constitute an artistically legitimate or worthwhile literary endeavor. What Hughes is saying, I think, is that one should not fear that writing about the trials and tribulations (or the joy and celebration) experienced by black people will place them lower on the literary hierarchy simply because it’s not about the trees, the flowers and the mountainous landscape. If one feels compelled to write about such things because they are beautiful, which they certainly are, that’s fine. But if one is writing about them and not something else and that’s predicated on the idea that the something else isn’t worthy of engagement for “serious” artists, then I think that’s a problem. As Hughes said, “An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he must choose.”

What’s the best book you’ve read in the last year; what made you decide to read it?

Oh, man. I read Yaa Gyasi’s Homegoing and thought it was one of the most stunning novels that I’ve ever read. The concept of writing an intergenerational narrative of the African diaspora from not only one, but two different extensions of the same lineage is so ambitious, and yet she pulled it off flawlessly. Everyone should read that book.

What’s something you tried recently for the first time?

I’ve recently attempted to begin meditating consistently. I’ve tried it on and off over the years but with no real discipline. I’m beginning slowly, with just 5-10 minutes each morning, and hope to build my way up to something more significant. We don’t realize how little time we allot to simply sit with ourselves. When I realized that, I found it deeply unsettling. I’m hoping to be better about that moving forward.

Name one of your influences outside of literature or art.

History. I’m profoundly interested in studying history and how it shapes the landscape of our current sociopolitical landscape. When you understand the trajectory of American history in particular, everything around us makes sense. The reason certain communities look one way and other communities look another. These were because of decisions that people have made through public policy, and often violence. The more time I spend engaging with the history of our country the more it influences my intellectual and political sensibilities.

When you’re not reading, writing or teaching, how do you spend your time, energy and money?

I’ve come to really enjoy running in a way I didn’t always. I played soccer my entire life and throughout college, and I was trained to think about running as a means towards a specific utilitarian end. When I was done playing, I had to recalibrate my relationship to exercise generally. It took some time, but I think I’m finally in a place where I value the act of running itself in addition to the way it makes me feel afterwards. I’ve also learned that a good audiobook takes my mind off how long I’ve been running and simply allows me to get lost in the duality of the story and my own breathing. I’m currently listening to Teju Cole’s Open City which I’ve read before, but is so wonderful to hear read aloud.

What advice you would give to emerging poets?

It’s an interesting question, because I still feel as if I’m still an emerging poet myself. I mean that in the sense that I still feel like I’m finding my footing as a writer and have a lot more muscles to stretch in order to more concretely understand my own literary sensibilities. What I would say, for any writer, is to read across genres. Fiction and non-fiction. History and social science. Longform journalism and haikus. All of them inform how I write, how I situate myself as a writer in the world, and help me to remember to reject the ways that the world can often create false demarcations between them.

What’s something that as a child, you assumed would have changed by now, yet hasn’t; what’s something you assumed wouldn’t have changed, yet has?

Oh, that’s interesting. Well “French fry” was my first word (or two words) as a child and I still think that there are few things better in life than a really good French fry. I don’t anticipate that will change anytime soon. In terms of the converse, growing up, I fervently believed that I would become a professional soccer player, and when I got to college, I realized that Louisiana, where I grew up, is not exactly a hotbed of soccer talent against which to measure your skills. I didn’t get much playing time in college, but ultimately it was the best thing that could have happened to me because it forced me to determine who I was beyond the soccer field, and that’s how I became more serious about writing.

What life experience has most shaped you as a writer?

My parents’ dining room table, the annual summer reading competition put on by the New Orleans Public Library, Hurricane Katrina, and Ferguson.

What year(s) did you attend the Cave Canem retreat? What are some of your favorite memories from those times?

I attended the Cave Canem retreat for the first time last year, and there simply are no words to explain what it means to be given a space where you feel as if you don’t have to explain the scope of who are you, whether it be in the poem or in the interpersonal dialogue of the workshop. I wrote the sorts of poems that previously, I didn’t feel I had the space or permission to write, and that was incredibly freeing. I’m looking forward to getting back.