The Wastrel (or: Poetics for Professor Bryson)
Questions for Homer
How did Odysseus keep his eyes on Ithaca? Could anyone have blamed him for giving up, the gods aligned against him, the not inconsiderable charms of Circe working on him, urging him to stay?
But she, for all her siren arts, a woman, could she have kept him knowing that a corner of his heart would never be free of the memory of her, his wife, whose name the enchantress could not even bear to hear?
How, against all better judgment, did Penelope persevere? Kingless Ithaca needed a ruler, an overlord, a master, even a mediocre one, until Telemachus came of age – what, other than her heart, tugged on her weaving each night, separating warp from woof?
And what of the fatherless son? His entire life spent in the company of women, what could he have learned of the art of war? Stranger to the Agogi, his uncalloused hands unused to sword and shield, unable to pull a bow, what wisdom could he have gained of manhood?
The dog, at least, did what dogs do, and wagged at the returning master’s nearly forgotten touch.
Jamie Brown earned his MFA from American University, where he worked on his fiction with Frank Conroy, Terry MacMillan, James Alan McPherson, Joyce Kornblatt, and others, and worked on his poetry with Henry Taylor, Myra Sklarew, Linda Pastan, Kermit Moyer and others.
A native of Washington, D.C., he taught for over a dozen years at George Washington University, for eight years concurrently teaching creative writing at Georgetown University. He taught the first-ever creative writing workshop, an eight-week intensive workshop on poetic forms in poetry, at the Smithsonian Institution.
His fiction has been published inCup of Joe: Coffee House Flash Fiction Anthology, The Delmarva Review, The Fiction Review, Gargoyle, Ginosko, Linden Avenue Literary Journal, Mediterranean Poetry, Sulphur River Literary Review, The Washington Review,andWordwrights Magazine. His poetry and has been published in dozens of literary magazines, including California Quarterly, Gargoyle, Gypsy Blood Review, Negative Capability, Howling Dog, Kipple, Maintenant, Midwest Poetry Review, Minimus, Musings, Nebo, Phase and Cycle, Poet Lore, Poetry Motel, Rat’s Ass Review, San Fernando Poetry Journal, Sulphur River Literary Review, Tekintet (in translation in Hungary), and Voices International among others.
He won the Best Book of Verse (2013) for Sakura: A Cycle of Haiku, and Best Chapbook of Verse (2019)for The Delaware Bay: Poemsfrom the Delaware Press Association. His most recent chapbook, Aftermath and Other Poems, is forthcoming from Moonstone Press, Philadelphia. His full-length collection, Conventional Heresies was published by Bay Oak Publishers in 2008.
He’s a member of PEN, American Academy of Poets, National Book Critics Circle, and operates The Broadkill River Press. He was presented with the first Legacy Award by the Eastern Shore Writer’s Association for his contributions to building the literary community on the Delmarva Peninsula.
Five of his plays have been produced “off-Ken-Cen” in the Washington, D.C. alt-theatre corridor of Fourteenth Street in Washington, D.C., a revival of one of which, “Death Comes Twice,” a comedy about Sex and Death (and Sex with Death), swept the awards in the 2007 One-Act Play Competition in Milton, Delaware (Best Play, Nest Director, Best Actor, Best Actress, Best Costuming). The revival of “Re-Education of the American Proletariate,” won the Best Actor Award the following year.