In this week of the Presidential Inauguration, it must be said that poetry serves another function when deployed in public: it is classy, it adds tone and the aura of high-minded literary prestige. This is where poetry gets into trouble: when it gets stuffy, pompous, and stiff.

Robert Frost was the first poet included in an inauguration when he spoke at John F. Kennedy’s ceremony. Photo by Walter Albertin, 1961. Courtesy of the Library of Congress

All of these characteristics, the Inauguration has in spades. Inaugurations have gradually gotten bigger and more complicated over time. Certainly, we are far from the day when Jefferson walked over to the Capital from his boarding house, was sworn in, and then walked back to have lunch with his roommates at the communal table. My recollection is that the ceremonies used to be fairly simple, followed by a parade. Now the ceremony itself is lengthy and studded with musical interludes, prayers and invocations, and an inaugural poem—as well as the parade. It’s not clear that the elaborateness of the inaugural ceremony is an improvement over brisk efficiency.  The inauguration, which is now an all-day event, tends to bring out the kind of stiff pomposity, both physical and rhetorical, that Americans mock in other areas; the solemn tones of the newscasters with their nuggets of “history.” Inaugural addresses are nearly always forgettable let-downs because the rhetoric is pitched too high as the speaker competes with some ideal notion of “posterity.” Who remembers President Clinton’s awkward rhetorical trope: “We must force the spring,” an admonition that puzzled analysts finally decided was horticultural not hydraulic. One suspects that presidents and their speechwriters are paralyzed by the example of Lincoln and his two majestic Inaugurals.

President Clinton brought back the inaugural poem perhaps seeking a connection with his youth as well as the ideals he hoped to embody since it was President Kennedy’s inaugural that saw perhaps the most famous example of public poetry in American history. Famously, the 86-year-old Robert Frost, a rock-ribbed Rebublican, agreed to read. A flinty, self-reliant New Englander, the poet had been beguiled by the attractive figure of the young Bostonian Democrat. Kennedy, shrewdly courted the old bard—undoubtedly America’s most famous poet—and convinced Frost, against his better judgment, to compose a poem to read at the swearing in. Frost, battening on to the Kennedy theme of a new generation coming to power, struggled to produce an enormous and bombastic piece on the “new Augustan age.” He was still writing the night before the ceremony.

Frost’s inaugural poem, including his edits. He was unable to actually read it at the inauguration. Courtesy of the Library of Congress

Amazingly, Frost was unable to deliver the new work: facing east into the noon day, he was blinded by the glare off the snow that had fallen over night and could not read the manuscript of his newly completed ode. So Frost, from memory, recited “The Gift Outright” his paean to America’s foreordained triumphalism: “The land was ours before we were the land’s.”

If the speaking platform had faced west as it does now, all this drama and inadvertent symbolism would have been avoided as Frost could have delivered his giant pudding of a poem. Accidentally, “The Gift Outright” jibed perfectly with JFK’s call to arms and a call to service that troubled only some at the time. But Frost practically was forced to recite “The Gift Outright” once he lost his eyes. It is the only one of his poems that would suit the public needs of the occasion. Imagine the consternation if he had recited the ambiguous and frightening lines of “The Road Not Taken” or the premonition of death in  “Stopping by Woods on a Snowing Evening”: “The woods are lovely, dark and deep.” Reading from “Fire and Ice” at that Cold War moment would have gotten the Kennedy Administration off on the wrong foot: “Some say the world will end in fire,/Some say in Ice./From what I’ve tasted of desire,/I hold with those who favor fire.” This could have caused panic if not incomprehension among political observers.

The Inaugural poet does not, then, have an easy task, balancing the public, the private—and above all else the political. President Clinton brought back the inaugural poet tradition with Maya Angelou, whose voice and presence redeemed a poem that is not very good. The others have been competent, nothing more. We will see what the newly announced poet Richard Blanco has to say. He is under tremendous pressure and the news that he is being asked to write three poems, from which the administration’s literary critics will pick one is not reassuring. Kennedy at least trusted his poet to rise to the occasion. Things are rather more carefully stage-managed these days. I wish Mr. Blanco well and remind him to bring sunglasses.

Historian David Ward of the National Portrait Gallery

As both a historian and poet himself, David Ward will contribute monthly musings on his favorite medium. His current show “Poetic Likeness: Modern American Poets” is on view through April 28 at the National Portrait Gallery.

This is, fittingly, Ward’s inaugural post for Around the Mall. This blog, he writes: “has the modest goal—or at least this blogger has the modest intention—of discussing  various aspects of American poetry, both contemporary and from past time. Poetry exists in a particularly salient place in the arts because if it is done well it combines opposites: form or structure with personal exuberance, for instance. Above all, it permits the most private feeling to be broadcast to the largest public. Poetry is one of the few ways that Americans permit themselves to show emotion in public, hence people resort to it at funerals – or weddings and other important occasions.  Poetry is a way of getting to the nub of the matter; as Emily Dickinson wrote, “After great pain, a formal feeling comes.” There has been a tremendous boom in the number of people who read and write poetry precisely because we see it as a way of opening up ourselves to others in ways that are sanctioned by a tradition that goes back centuries. Among its other dualities, poetry always balances past and present.”

Our curators and researchers recommend a little something for everyone.

The curators and researchers spend a lot of time reading, everything from classic novels to the latest exhibition catalog. We asked some of them to lend us their reading lists to see which titles rose to the top and why.

For the Art Connoisseurs:

Leslie Umberger, from the American Art Museum, recommends:

“James Castle: Show and Store, an exhibition catalogue produced by the Museo Nacional Centro de Arte Reina Sophia in 2011 brilliantly navigates the complex depths of Idaho artist James Castle (1899-1977). Fresh, insightful, and deeply moving, the images and essays explore a truly, astonishing, poetic and enigmatic body of work–drawings of soot, paper constructions, and carefully rendered books and letters–entirely in its own terms. Perfectly magical.”

Lisa Hostetler, from the American Art Museum, recommends:

“Photography Changes Everything, edited by Marvin Heiferman (Aperture/Smithsonian Institution, 2012). It’s an interesting look at the wide variety of ways that photographs are used and how photography itself has affected contemporary culture. Two exhibition catalogues that I’ve been looking forward to reading are Cindy Sherman (MoMA, 2012) and Rineke Dijkstra (Guggenheim, 2012). Sherman and Dijkstra are two of today’s most compelling artists, and these retrospectives are important compendia of their careers.”

Maya Foo, from the Freer and Sackler, recommends:

“Rome by Robert Hughes. In college, I studied art history in Rome and I have wanted to return to Italy ever since. Robert Hughes’ Rome is a readable and rich history of the city told through art, architecture, literature and the author’s personal narrative.”

For the Wordsmiths:

David Ward, from the National Portrait Gallery, recommends:

“What with the opening of Poetic Likeness at the museum this fall and co-editing Lines in Long Array: A Civil War Commemoration, which includes 12 newly commissioned poems, my mind has been mostly on poetry the last year or so. I have been especially taken by the following titles: First, work by two of the great “voices” in modern American poetry, one still vital even at 85, John Ashbery, and the other sadly gone, Adrienne Rich, who passed away earlier this year after an amazingly powerful career. Adrienne Rich, Later Poems: Selected and New, 1971-2012 (WW Norton, 2012). John Ashbery, Quick Question: New Poems (Ecco, 2012).

The writer Eavan Boland is not only a first-rate poet but she is continually interesting on the subject of writing, literary history and social roles. Her latest book explores the sense of doubleness that she navigates in her career: A Journey with Two Maps: Becoming a Woman Poet.

Two prize-winning books by two of America’s best poets are also of note: Jorie Graham’s Place (Ecco, 2012) and Tracy K. Smith’s Life on Mars (Greywolf, 2011), which won the Pulitzer Prize for poetry in 2012.

Also, a pitch for a book that was published a couple of years ago that I don’t think got as much attention as it should have, from Greil Marcus and Werner Sollors, A New Literary History of America (Harvard University Press, 2009), which came out in paperback in 2012. It provides a really valuable, entertaining and incisive view of 500 years of American writing.”

For the Scientists:

John Grant, from the National Air and Space Museum, recommends:

Roving Mars: Spirit, Opportunity and the Exploration of the Red Planet by Steve Squyres is good for adults. Squyres writes about his work as the principal investigator on both the Spirit and Opportunity missions to Mars in 2004. A good read for people following the more recent Mars developments with the Curiosity mission.

And for the younger set: Fly Me to Mars by Catherine Weitz is a terrific kids book.

For the History Buffs: 

Cory Bernat, co-curator of FOOD: Transforming the American Table at American History, recommends:

Paradox of Plenty: A Social History of Eating in Modern America by Harvey Levestein, which covers America’s eating habits from the 1930s to present day.

John Edward Hasse, at the American History Museum, likes:

Rising Tide: The Great Mississippi Flood and How It Changed America, by John M. Barry, because it’s a “fascinating story told so compellingly that it reads almost like a novel.”

Nancy Bercaw, of the American History Museum, suggests:

Tiya Miles’ Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, first published in 2006, but an interesting read for readers looking for something different in the Civil War sesquicentennial.

See More Holiday Gift Guides from Smithsonian.com »

Enjoy an evening event at the groundbreaking exhibition "The Bright Beneath." Photo courtesy of the Natural History Museum.

Monday, November 28 Postal Museum Tours

Only have a limited time to see the sights at the Postal Museum and don’t know where to start? Take a docent-led tour of the museum’s collections to make sure you see a little of everything, and gain insight into the collection’s significance. DIY-ers can download this self-guide brochure. Tours are generally held at 11 a.m. and 1 p.m. daily; call 202-633-5534 to confirm the day’s times. Free. National Postal Museum.

Tuesday, November 29 Viva Verdi

Come explore the remarkable life and career of Giuseppe Verdi, Italy’s great 19th-century opera composer. Coleen Fay, arts editor at WAMU, will lead a seminar that traces the evolution of Verdi’s works through multimedia recordings. Learn how Verdi overcame personal misfortune to compose some of opera’s most renowned masterpieces. This Residents Associates Program is $30 for members, $27 for senior members, and $40 for the general public. 6:45 to 9 p.m. Ripley Center.

Wednesday, November 30 Celebrating Roots, Creating Community

The Smithsonian Latino Center invites everyone to a bilingual night of music and spoken word performances. This program will feature local poets Quique Avilés, Naomi Ayala and Consuelo Hernández, as well as music by singer/songwriter Patricio Zamorano and his band. The event is part of the Latino D.C. History Project series, which documents the historical presence of Latino culture in the nation’s capital. Free. 6:30 p.m. American Indian Museum, Rasumson Theater.

Thursday, December 1 The Bright Beneath

Inspired by bioluminescent organisms from deep beneath the sea, installation artist Shih Chieh Huang has created an unearthly world of glowing creatures in the Natural History Museum. At this “Mingle at the Museum” event, enjoy a specialty cocktail and themed hors d’oeuvres as Huang and curator of fishes Lynne Parenti chat about the exhibition. Demonstrations of bioluminescent deep-sea creatures and real specimens will be on hand. This Residents Associates Program is $30 for members and $35 for the general public. 7:30 to 10 p.m. Natural History Museum, Sant Ocean Hall.

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Visitors Guide. Additional reporting by Michelle Strange.

Henrique Oliviera's "Bololô," on display in the "Artists in Dialogue 2" exhibition. Photo courtesy of the African Art Museum

Friday, October 21 Craft2Wear Advance Chance Party

Craft2Wear is a unique collection of American-made wearable art by forty artists featured in previous Smithsonian shows, including Alabama-based artist Kathleen Nowak Tucci, recently featured in a Q&A. Come to the advance opening party to get an early shot at these remarkable pieces of jewelry, clothing and other accessories. David Muir, of ABC World News, will emcee this event, which features wine, hors d’oeuvres, music and modeling. Craft2Wear is organized by the Smithsonian’s Women’s Committee and a portion of the sales will benefit the committee’s mission of supporting education, outreach and research projects within the Institution. Tickets to the party are $50; tickets to attend the exhibition Saturday or Sunday are $5 and available at the door. 5:30 to 8:30 p.m. Friday, 10 a.m. to 5 p.m. Saturday and Sunday. National Building Museum, 401 F St., NW

Saturday, October 22 MATCH + WOOD

Experience the interplay between poetry and visual art at this evening event. Poets Ernesto Mercer and Sami Miranda invite the art collective Tres Raices and others to engage with the collaborative works of Sandile Zulu and Henrique Oliviera, whose paintings and installations are featured in “Artists in Dialogue 2.” The event continues the show’s exploration of the dynamic connections between Latino, African and American cultures. Free. 6:30 to 8:30 p.m. African Art Museum

Sunday, October 23 Call and Response Drumming Workshop

Melvin Deal of African Heritage Dancers & Drummers leads this interactive workshop. Learn about the drumming history of Go-Go, a DC-based blend of funk and R&B with call-and-response vocals. Bring an instrument—a bucket, bottle, wooden box, whistle or anything else you can jam with—to join in. Free, reservations encouraged at 202-633-4844. 2 to 4 p.m. Anacostia Community Museum

For a complete listing of Smithsonian events and exhibitions visit the goSmithsonian Online Visitors Guide. Additional reporting by Michelle Strange.

Historian David Ward discusses his new book of poetry. Photo courtesy of Ward.

The National Portrait Gallery’s historian David C. Ward is a biographer of Charles Willson Peale and has written extensively about such figures as Hart Crane and Ernest Hemingway. He has curated exhibitions on Abraham Lincoln and Walt Whitman, as well as last year’s controversial “Hide/Seek. Difference and Desire in American Portraiture.” Over the past two decades, however, he has occasionally turned from history to verse and has recently published a small volume of poetry entitled, Internal Difference, from Carcanet Press. “Ward’s carefully plotted chapbook describes American social spaces, past and present, and the links between them,” writes critic David Kinloch in the June/July issue of PN Review.  In one poem, the historian amusingly offers a poet’s take on the imagined inner world of Andy Warhol, an artist attempting to escape the confines of his own accelerating celebrity.

“Camouflage Self-Portrait”

In 1987, aged fifty-nine Andy Warhol bored
and played out in the modern life he made
(after the first lunch with Jackie O/there is no other)
faked his own death—routine gallbladder procedure:
gone awry—slipped quietly from the hospital
back into his mother’s house, his Pittsburgh boyhood
home. Wig gone, black suit and fancy glasses trashed,
he donned the clothes and life of a nondescript ordinary
working man, took a bakery assistant’s job making crullers
and cakes, introduced himself as Stosh from somewhere
vaguely somewhere else, and joined the local bowling
league. He learned to polka at the Legion Hall, amiably
fending off the local widows, and grew quietly old alone.
He cooked for one and after dinner would sit and watch
as the neighborhood wound down from dusk to night.
He developed a real fondness for baseball:
it was so slow.

Ward is currently at work on an upcoming exhibition entitled “Poetic Likeness,” scheduled to open at the Portrait Gallery in November of 2012. We asked Ward to discuss his multiple muses—poetry and history.

Ward's new book is now available through tkpublisher. Photo courtesy of tk.

Why poetry?

I started writing poetry in my late 30s, just over 20 years ago. I think at that time I needed a creative outlet that was different from my professional work as an historian who works in a large institution. Also, around that time I was starting to do more as an historian so feeling more creative in that may have made me open to the odd idea of taking up poetry. The immediate trigger was the death of Robert Penn Warren. I had never read his poetry so to pay tribute, I bought his Collected Poems and went through it and something in the way he wrote about America and American subjects clicked with me. I can remember thinking, “hmm. . .I should try this.” I batted out a poem called “On A Recently Discovered Casualty of the Battle of Antietam”—it’s very “Warren-ish”!—and it was published and since it would look lame if I only ever had one published poem, I had to keep writing. I also was lucky enough early on to develop a connection with a very good poet, editor, publisher, Michael Schmidt in England who has been very supportive of my work. I am self-taught as a poet but Michael has been an excellent tutor. And friend.
Where do you find inspiration?

Let me turn this question around: now that I’ve demonstrated to myself that I can get individual poems on random topics published, I’m trying to write poems around themes or subjects so that I can have a group of at least loosely linked work that will add up to something. I do find it helpful to set myself a topic and just make myself write on it. For instance, this year I’ve started writing about my family history, re-imagining it in a way that derives somewhat from Robert Lowell. I have some political poems going as well as some on art and artists—I had been resisting writing about art because it’s too close to my work at the Portrait Gallery, but that seems kind of foolishly self-denying. In general, I think my poems have tried to explore the disjunction between ideals or dreams and the reality of life: how choices or accidents ramify in unintentional or unseen ways and you end up somewhere that you didn’t expect to be. The challenge is to do that in a clear- eyed way and not to devolve into self-pity.

How and when and where do you write?

It’s kind of hit or miss, which I suppose is a sign of the non-professional poet. I’d like to be more disciplined and set aside a fixed time, especially on the weekends, to write poetry. But I don’t keep to that resolution, maybe because I need poetry to be creative play instead of the routine of work. Either that or I’m lazy. So topics and poems tend to show up rather randomly at rather random times. For instance, I wrote two political poems when I woke up in the middle of the night, suddenly thinking of opening lines, and how I could make a poem work from those starting points. Obviously something was working in my subconscious and jelled into realization. That tends to be how things go, although not usually at 2:30 a.m.  The problem is that relying on your subconscious suddenly popping out a starting point, let alone a whole poem, is kind of chancy and I can go for a long time without writing anything. Once I get a “hook,” I can write a poem pretty quickly. I am trying to make myself revise and re-write more.

Do you draw any parallels between your day job as an historian scholar and your poetry?

Well, I think they are self-reinforcing in the sense that both involve intellectual application through the creative use of language.  I should say that I also write a fair amount of literary criticism (actually, I’m a better critic than poet) and that work helps to bridge the two disciplines as well. I have certainly improved as an historian from writing poetry (and criticism)—a better writer, and I think more questioning and imaginative. Without being too hard on myself, though, I think that being a historian limits my poetry: I’m aware that my writing tends to be observational or distanced from its subject, like a historian objectifies a problem. (For instance, “Camouflage Self-Portrait” came out of my exhibit Hide/Seek and thinking about how Andy Warhol just seemed to disappear as his passing was so undramatic, and I came up with the conceit that he faked his death precisely because he was tired of all the drama.) Some of that distancing, I’m sure, derives from my upbringing and personal temperament, but regardless, I can’t merge my poetic voice with the subject in the way that Emerson suggested was necessary for the poet. I find it nearly impossible to write poems about emotions themselves, although I can show how emotions are acted out in behavior.

In the poem, “Angle of Deflection,” you write of the “ironic voice” that “works well for scholars,” what then is the poet’s voice?

As I suggested earlier, I think my poetic voice is overly ironic! That I retain the “scholar’s voice” in writing verse in a way that shapes my poetry in ways that can become restrictive in all sorts of ways. “Angle”  was as much about me as it was about my father who was also an historian. But what I’ve tried to do as I’ve moved along is to develop a self-awareness about the way that I write, so that I can take what I think is a weakness and turn it into a strength. I am always going to be an historian first and my temperament will always tend toward the detached and skeptical—ironic, in both senses of the word. But I think there are a lot of interesting things to find in voicing the gap between self and subject. At least I hope so.

Celebrate National Poetry Month! Use the paintings at the museum to inspire your poetry. View the paintings and read poetry aloud, followed by a discussion of the artwork. Free. 5:30 PM to 6:30 PM. American Art Gallery. Madeline Andre and Arcynta Ali-Childs blogged about poets in the Smithsonian collections.

Andrew Young by Ross R. Rossin, oil on canvas, 2009; National Portrait Gallery, Smithsonian Institution; gift of Jack Watson; © Ross R. Rossin

Saturday, April 30 Meet Andrew Young

Civil rights leader Andrew Young will discuss his experience working with Martin Luther King Jr., and his own role in American history. Young will also sign copies of his book Walk in My Shoes: Conversations between a Civil Rights Legend and His Godson on the Journey. Free. 2 PM. National Portrait Gallery. Related exhibition: “The Struggle for Justice” National Portrait Gallery

Sunday, May 1 Restoring the Kabul Museum

Learn about the ongoing restoration of the Kabul Museum, as explored in Afghanistan: Hidden Treasures from the National Museum, Kabul. This internationally touring exhibition, though currently not on view at a Smithsonian museum in DC, presents more than 200 objects thought to have been destroyed or stolen from the museum before they were recovered in Afghanistan in 2004. Deborah Klimburg-Salter will give her presentation, “Twice Buried, Twice Found: Reinventing the National Museum of Afghanistan, Kabul.” Free. 2 PM Freer Gallery of Art

"In the Garden (Celia Thaxter in her Garden)" by Childe Hassam

April is National Poetry Month, so to honor the words and songs of famous poets, the Wednesday List is all about poetry. Scattered across the Smithsonian museums, here are a few of the most influential and famous poets you already know, as well as a few newcomers whose work you may want to get familiar with. (Posted in chronological order by their birth, not by relative awesomeness)

1. Ralph Waldo Emerson (May 25, 1803 – April 27, 1882)

Most famous for leading the Transcendentalist movement of the mid-19th century, Emerson’s more notable works include Nature, Self-Reliance and The Poet. Emerson, who spent his career lecturing and writing, published 10 collections of poems and essays and corresponded with other famed poets such as Henry David Thoreau and Nathaniel Hawthorne. The Daniel Chester French sculpture of Emerson is located in the American Origins exhibit at the National Portrait Gallery.

2. Edgar Allan Poe (January 19, 1809-October 7, 1849)

Best known for his poem “The Raven,” Poe’s poems were often about death and mourning— dark subjects and imagery— compared with the optimism of the early culture in America at that time. Although “The Raven” became a popular sensation after it was published in The Evening Mirror in 1845, Poe died a poor man. But diehard Poe fans don’t have to wait another year to visit his grave on the anniversary of his death. Instead, see a portrait of the man in the American Origins exhibit at the National Portrait Gallery.

3. Walt Whitman (May 31, 1819-March 26, 1892)

Often called the “father of freeverse,” Whitman is most famous for his book Leaves of Grass.  Though many viewed his work as obscene and profane at the time, Whitman is regarded by many as “America’s poet” for his ability to write in a uniquely American character.  His portrait by John White Alexander is located in the American Origins exhibit at the National Portrait Gallery.

4. Celia Thaxter (June 29, 1835 – August 25, 1894)

Born in Portsmouth, New Hampsire in 1835, Thaxter became the hostess of her father’s hotel, the Appledore House, where she entertained and welcomed famed poets such as Henry Wadsworth Longfellow and Sarah Orne Jewett. Her first poem called “Landlocked” was published during a 10-year period where she lived away from her beloved islands and on the New Hampshire mainland.  Her poems appeared in The Atlantic Monthly and she later became one of the country’s favorite authors. In the Smithsonian American Art Museum, a painting by Childe Hassam depicting Thaxter in her garden is found on the East wing of the second floor.

5. Paul Laurence Dunbar (June 27, 1872 – February 9, 1906)

Dunbar was a poet who gained national recognition in the late 19th and early 20th centuries with his poem “Ode to Ethiopia.”  His parents escaped slavery in Kentucky and fled to Dayton, Ohio where Dunbar grew up the only African-American student at his high school. After publishing two books of his standard English and dialect poems, he combined them to form Lyrics of a Lowly Life and rose to international literary fame. The portrait of Dunbar by William McKnight Farrow is also located in the American Origins exhibit in the National Portrait Gallery.

6. E.E. Cummings (October 14, 1894-September 3, 1961)

E.E. Cummings became famous for his poetry during the first half of the 20th century after working as an essayist and portrait artist for Vanity Fair magazine. Though Cummings’ body of work includes about 2,900 poems and various forms of writing such as plays and novels, his drawings and paintings are seldom explored. Located in the Hirshhorn’s online collection, you can view many of these overlooked works.

7. Malangatana Ngwenya (1936-2011)

Malangatana Ngwenya is an artist best known for his brightly-colored murals and canvases. In his work, the Mozambiquen painter depicts powerful subjects like the trauma of armed conflict and revolution, as well as the small pleasures of daily life and the triumph of the human spirit. One such painting, Nude with flowers, 1962, on display at African Art, also reveals Ngwenya’s “hidden” talent as a poet. On the back of the painting, he has handwritten “Poema de Amor,” a love poem which is a little too racy to print in these parts.

8. Joane Cardinal-Schubert (1942-2009)

You may have to dig deep to find the poetry of multimedia Blackfoot (Blood) artist Joane Cardinal-Schubert, her poems encompassing but a part of her  artistic repertoire, which included writing, curating, directing videos, painting and drawing. You can see some of Shubert’s work, which focuses largely on Native history, social injustice and environmental concerns at the American Indian Museum exhibition “Vantage Point.”

9. Nora Naranjo-Morse (b.1953)

While you’re at the American Indian Museum, make sure to check out the clay pottery of Santa Clara Pueblo artist Nora Naranjo-Morse, on display in the landscape area along the Maryland Avenue side of the museum. Born into a family of mostly women potters and visual artists, Morse focuses her work on the connection between pueblo people, their land and the clay they use to build on that land. Morse is also a sculptor, writer, film producer and poet, whose collection Mud Woman: Poems from the Clay combines poetry with photographs of her clay figures.

BONUS! 10. Phillis Wheatley

Born in Gambia, Senegal, Wheatley was enslaved as a child and grew up in Boston, where she learned to read and began writing poetry. In 1773, Wheatley published Poems on Various Subjects, Religious and Moral, becoming the first published black woman poet. The book also made Wheatley famous and her success led to her eventual emancipation. A bronze life-size bust of Phillis Wheatley, by celebrated artist Elizabeth Catlett, is part of the collection of the National Museum of African American History and Culture, though not currently on display. Created in 1973, the bust marked the 200th anniversary of the publication of Wheatley’s book and Catlett’s interest in the feminist movement of the 1970s.

–With additional reporting by Arcynta Ali Childs

Born to be Wild 3D features the conservation efforts of primatologist Birute Galdikas with orangutans in Borneo, along with that of Dame Daphne Sheldrick‘s work with elephants in Kenya. Both women live near the animals, rescuing them and returning them to live in the wild. Film is shown at 2:25, 4:25 and 6:25 daily. The Johnson IMAX Theater at the Natural History museum. Tickets are $9 adults, $8 seniors and $7.50 children ages 2 to 12. Toll free phone 866-868-7774 or online.

Tuesday, April 26 Star-Spangled Banner

Meet the seamstress who sewed the Star-Spangled Banner. Help her assemble a new flag and learn about its history. Free, repeats daily through Friday at 2 PM and 3:30 PM. Flag Hall, American History Museum.

Wednesday, April 27 DC Youth Creativity

Participate in a community forum on  youth and creativity in Southeast D.C. The Junk Yard Band, Facilitating Leadership in Youth (FLY), Life Pieces to Masterpieces art center and Multi Media Training Institute will be representing their programs. Free. 7 PM. Anacostia Community Museum

Thursday, April 28 My Dog Tulip

Paul and Sandra Fierlinger will introduce their film, My Dog Tulip. The Fierlingers  will discuss their films, show samples of their animation and talk about the future of animation. Free. 7 PM. Hirshhorn Museum and Sculpture Garden

Friday, April 29 Poets & Painters

Does the art at the museum inspire you to write? View paintings and read poetry aloud, followed by a discussion of the artwork. Free. 5:30 PM to 6:30 PM. American Art Gallery

A detail from one of the folios depicts a giant bird bringing food to its nest. "Zal is Sighted by a Caravan," attributed to Abdul Aziz, ca. 1525. Image courtesy of the Sackler Gallery.

Last week at a media preview for “Shahnama: 1000 Years of the Persian Book of Kings,” the Sackler Gallery’s new exhibit, chief curator Massumeh Farhad pulled back the black gallery doors to allow a group of journalists into a dimly lit lair of ancient manuscripts and gleaming silver loosely reminiscent of Aladdin’s cave.

The exhibit is centered around the thousand-year-old, 50,000 verse Persian epic poem, Shahnama (pronounced shah-nah-MEYH), a blend of mythology and Persian history. While there are no talking parrots or diamonds in the rough, the text offers its own brand of fantasy that Farhad likens to Shakespeare and Grimms’ fairytales.

“It’s the most popular text in Iran. Nearly every household has a copy of the Quran and a copy of the Shahnama,” says Farhad.

The narrative traces the history of Iran through the 7th century Arab conquest, focusing on the exploits of 50 different Persian monarchs. The poet Abul-Qasim Firdawsi wrote the epic over a period of 30 years, during which time the ruling local dynasty, the Samanids, permitted cultural and artistic expression to flourish. But by the time the poet finally finished in the year 1010, the Samanids had been overthrown by a Turkic dynasty from Central Asia, the Ghaznavids, who cared little for the arts. Still hoping to be rewarded for his 30 years of literary labor, the poet petitioned Mahmud, the king, showing him his 50,000 verses.  The king responded with an insulting reward that was but a pittance for his work. A despondent Firdawsi proceeded to drown his sorrows in beer at a local bath house.

The king lived to regret his decision. Ten years later, Mahmud reread the text and immediately sent a caravan of camels loaded with precious indigo to Firdawsi the poet as a peace offering, but it was too late. As the camels entered Firdawsi’s town, they ran right into a funeral procession. The poet was dead.

“For every king to rule, they had to have ‘farr’, the divine rule to kingship,” says Farhad. “The Shahnama deals with the moral consequences of becoming too proud and forgetting who you are.” Each Persian king who came after the infamous Mahmud commissioned his own copy of the text, which became an emblem of the divine right to rule.

Starting in the 1300s, these royal copies were illustrated with opaque watercolors, gold and black ink. The illustrations—so intricate as to warrant the use of a magnifying glass—make up the majority of the exhibit, which is also punctuated with a 16th century full manuscript of the epic and several silver and bronze vessels from the 6th and 7th centuries.

After an introductory hall, the exhibit is divided into two sections, one focusing on history and the other on myth. The former largely offers the story of Alexander, the Macedonian conqueror, who despite his imperialist spirit is nonetheless described in the Shahnama as a just ruler. The mythological section features morality tales of kings who lost touch with their roots and thus lost their divine rule, their farr. These are often populated with mythical beings; one folio on display depicts a Harry Potter-like hippogriff. (“J.K. Rowling must have seen a copy of the Shahnama,” insists Farhad.)

Despite the ancient objects in the exhibit that give the sense of having only just been unearthed, Farhad says the poem is still relevant today. “I think it’s because of the universal themes of truth and honesty that resonate, whether you’re Iranian or not.”

“Shahnama: 1000 Years of the Persian Book of Kings” will be on display at the Sackler Gallery through April 17, 2011.

These supplies were recommended for making your own sketchbook at the Luce Center's drawing workshop. Image courtesy of Eye Level.

Feather Forensics—Featured right now on the Smithsonian Science homepage is a video about identifying dead birds who have mostly been struck by airplanes, such as the Canada geese that brought a US Airways plane down into the Hudson River. The video is an interview with forensic ornithologist Carla Dove (no, that’s not her stage name), who talks about how she and her team can determine bird species just by closely examining their feathers.

Anthem Newsflash—The American History Museum’s Star-Spangled Banner exhibit is home to the flag that inspired Francis Scott Key to write a poem that would become the lyrics to the national anthem. So the question is, did Key intend for his poem to be a song when he wrote it in 1814?  “Oh Say Can You See” reports that the historians at American History believe Key’s intention was to write a composition to be set to a melody.

Pheon Now Online—A few weeks ago, I reported on the launch of Pheon, the new alternate reality game at American Art. While we were all off on our holiday weekend, the museum launched the online version of Pheon, which can be played from the comfort of your own computer. The game currently has 21 beginner missions, seven of which are directly related to artworks in the museum’s collections. Don’t get too comfortable behind that screen, though, because most missions send you out into the real world. Go straight to the game’s Facebook app to get started (you must have a Facebook account to play).

Make Your Own Sketchbook—Featured this week on Eye Level are a few tips for making your own sketchbook, as offered by Katherine Rand, who taught the Luce Center of American Art’s latest drawing workshop. The Luce Center offers an ongoing drawing program, called Draw and Discover, where anyone from the public can come and not only practice their drawing skills but also learn nifty tidbits about sketchbooks, like what to use to bind your own book and what kind of paper holds up best.

Jason Reynolds collaborated with his friend Jason Griffin on this artistic memoir that was published this past spring. Photo courtesy of Jason Reynolds.

Jason Reynolds, an author from Rockville, Maryland, will perform spoken word poems Saturday as part of the Africa Alive! Community Day 2009 sponsored by the National Museum of African Art. ATM talked with Reynolds about his current projects and what he has in mind for the future.

How did you get involved in spoken word and poetry?
I got started around the age of 14. They used to let me into Bar Nun on U Street [in Washington, D.C.], and I would just wait until the end of the night and perform my little poems and things of that nature. The original reason I started writing poems was because my grandmother died, and I wrote this poem, and the poem was shared at the funeral. From there it kind of just spun out of control.

You just had a book published this past spring.
Yes, so the new book is called “My name is Jason. Mine Too.” It’s written with a co-author, a buddy of mine who’s an artist. We do what we call hybrid art. The book basically is a creative and artistic memoir of our lives in New York City. It’s a classic New York tale of packing their bags and heading off for the big city. When they get there, they go through tons of trials and tribulations trying to figure out how make their dreams come true. What’s different about our story is that instead of being a story, it’s written in poems and paintings. So you read the poems and look at the paintings, and you can experience the entire story. It’s a different way to approach literature.

Did you write it with a specific audience in mind?
It was written for the teenager, the 15-year-old who may not be into literature or who may not understand poetry or art. It’s a little more palatable. It’s creative; it’s exciting. There are tons of different stimuli going on. It’s not just words on a page like all books are for that age.

What’s next for you?
I’m developing a software that will create interactive books. Taking the concept of an e-book and meshing it with a concept like Google Earth or video games for that matter. It’s turning literature into something very interactive. The truth is that paperless books are the way of the future, unfortunately. As much as I like to fight it, the truth is that as the world gets greener and as the economy continues to suffer books are going to become paperless. My job is to figure out a way to make these paperless books creative and interactive because that’s the next wave. It’s not quite a video game and it’s not quite an e-book, but it’s somewhere in between.

What kind of stories would you tell this way?

Let’s say we were writing a story about a kid in New York City. The reader would be the kid. The reader would be experiencing the story. The story could be anywhere. The story could be written in graffiti on the wall. The next part of the story could be written on a menu at a restaurant, but he gets there as he experiences the story. The graffiti on the wall basically explains to you where you are, what you’re doing and what’s about to happen. As you move about the neighborhood you read the other parts of the story. So it’s more like choose your own adventure, but it’s incorporating technology into it. Like the old choose your own adventure books. It’s that same concept but its becoming more interactive, using technology to bridge the gap.

So what are you going to do on Saturday?
I’m going to take a different perspective. I know we’re doing Africa Alive, and everyone is going to be doing blatant African themes. I’m going to come at it from the angle that Africanisms are interwoven into our everyday lives, especially of African Americans. I think we forget that African Americans are just five generations removed from Africa. But the Africanisms and a lot of the African traditions are still a part of our everyday lives. We just aren’t aware of the things that we do that are very African. Some of my pieces are going to be tied into that. It’s going to be pointing out the Africanisms that we take part in without even knowing because they are so natural and so normal for us. It kind of proves that Africa is alive in Africa and in America.