If you’re new to the Poet Bloggers Revival Tour, read Donna Vorreyer’s explanatory blog post with the official list of participants (and leave a comment there if you’d like to join). Please note however that I reserve the right to occasionally also include links from other poetry bloggers whom I’ve been following for years, and who may be too antisocial to join the revival tour. As for my own blogging, this week I added two posts about poetry to my oft-neglected author site, so I’m definitely feelin’ the revival fever! If you missed last week’s digest, here’s the archive.
What is it to be a poet in this world? International, intercultural, intergenerational. Virtual.
My social-media life was the opposite of poetry. Since 2016, I’ve experienced it as divisive. I am tired of labels. Even the silly ones. What kind of pizza are you? Which French philosopher? I understand that categories are useful. Scientists find use in them. But poets shouldn’t. Poets are occupied with the truth. And the truth is always a platypus.
I crave the deep work. The work of sincere attention necessary for poetry. I want to close my eyes and rediscover my senses. I want to fight against the stenciled concepts I’ve adopted.
Ren Powell, Poetry is the Unknown Guest in the House
I was very, very late to Twitter, but once I latched on, I saw a vibrant, diverse, and engaged set of poets. I initially followed old poet friends, and then I started to pick up all these new voices. At first, yes, I was dismissive of it all, from the registering of liking and retweeting of tweets, all about instantaneous, mindless, and cost-free feedback, to the humble-bragging about followers-to-following ratios. I wondered if Kaveh Akbar ever read a book a poetry without his phone ready to snap a new favorite stanza. I wasn’t sure what to think about Jericho Brown’s latest report of his body-fat percentage. And yet, poets like Akbar, Brown, Eve Ewing, Danez Smith, Shaindel Beers were not only accomplished in their craft, beyond woke in their politics, and genuinely enthusiastic about their art, but were challenging me to love more and assume less. These poets were kicking my ass.
Soon, the nosiness was rather pleasing to me, even with all the self-promotion, because it was this deep buzz of human activity. It was also useful for me to remember that these poets had much more serious, deeper engagements with their craft than their latest tweet-storm, and that the twittersphere is just one access point. It’s also useful to remember just how lonesome poetry writing can be, which is another quality that I do love about it, and Twitter is one means to connect.
Jim Brock, Broken Links
Work is a complex thing. It can be a soul-sucking, time-burning depletion, or it can be an expression of the full being. There can be grace on a production line, I imagine: pride in efficient, high quality work done safely by a team who believe in their product. But when I think of work, I think of solitude. That’s just me. I think of the times I’ve lost myself in my work of mind and hand — the swirl of thinking and logic and overcoming obstacles, being imaginative in problem-solving, articulating something effectively. And having fun in the process. Loving, in fact, the process. I also think of all the jobs I’ve had that were not that at all, were depleting in various ways, mostly because I either didn’t care about it or didn’t feel valued, or both.
Marilyn McCabe, Let Me Give You a Hand; Thoughts on Work
Here’s what I believe: writing in a supportive environment when the rules are: be playful and yes, anything goes are a great recipe for success. Unlike most other workshops, we focus on creating our own writing prompts (new ones for each class) and for each one, we have a secret mission whether it is to write image driven poems or create new forms — everyone leaves with at least six drafts of six poems they never would have written otherwise. Kind of wonderful.
Susan Rich, What I Love About Teaching Poetry Workshops
I liked this process of adaptation. When movies are adapted from books and stories, filmmakers change things. They fire characters and compress scenes in part to save money on paying actors and renting space, but also because there is often no need to say what is shown. Why not something similar with poetry?
I think writers and probably poets especially can get locked into the sanctity of their words and lord knows there are times when that makes sense, but if poetry is to be a conversation even if as in this case with oneself, I think it’s important to let go a little bit especially when changing mediums. My academic background is in film production and screenwriting where the expectation is that the written word is not final so maybe this comes easier for me, but it’s a comfortable way for me to work and I think it’s useful to see where your words can go and a worthwhile exercise to keep playing with what you’ve made and, if you dare, open it up for others to do so as well.
James Brush, all roads lead here & Notes on Adapting Poetry
Poetry is not meant to speak clearly now.
Circumlocute. Paint pictures, white
upon white upon white. Associate.
There is something to be said for fragment,
flash illuminated, a freeze-frame strobing.
Memory breaks like that. Stuck to glass.
Millibars drop, pummel backs with snow.
Whose scapular muscle twitches? What
feathered thing flies, heart hammering.
JJS, January 4, 2018: To the Small Bird Flying Under It
Ada Limón and I were part of a cohort of poets who came up at about the same time in publishing our first books. Now, I say that word “cohort” with two asterisks.
The first asterisk is that we were a cohort uniquely born of the internet era. Yes, we each had the communities created by school—which in her case, was a rock-star class of New York University MFA graduates. But in the larger sense, we were that first virtual community of poets who had a meaningful dialogue via comments left on each others’ blogs. We muddled our way through NaPoWriMo together. We cheered each other on when no one else was paying attention.
The second asterisk is that Ada’s first book and her second book were simultaneous, thanks to having Jean Valentine select the manuscript Lucky Wreck for the 2005 Autumn House Poetry Prize, and then—literally, within months—winning the 2006 Pearl Poetry Prize with The Big Fake World. That never happens. She made it happen.
Sandra Beasley, Introductions
When I make money from poetry, I try to put money back into poetry. I want to support the literary community as much as I can. I spent some time at the end of the year subscribing to a few journals, as I do every year – I try to rotate the journals so I can support as many as possible. I buy a LOT of poetry books (although I get a decent number as review copies) because 1. I want to support my local stores that carry poetry and 2. I want to support small presses that publish poetry. But I do also support the idea of literary publishers, organizations and journals trying to raise money outside the small circle of poets that want to publish – by reaching out more, trying more ways to gain subscribers, maybe advertising? What do you think? I remember being poor enough that every book contest fee hurt. I feel that fees have gone way up since I started trying to publish work waaay back in 2001-2.
Jeannine Hall Gailey, 2018 so far: A Poem in Rogue Agent, New Year Zoo Lights, Luck and Poetry Fees, and Thinking About the New Year and New Poetry Blogs!
January slid in on the light of a cold full moon. Like a winter wolf, I am denning, exploring the dark that is so much part of this time of year where I live. I curl up on one end of the sofa in the evening and plunge into the pages of book after book. I am twitchy and witchy and my reading choices reflect it. I began the year with Patti Smith’s Devotion, followed swiftly by Kiki Petrosino’s Witch Wife and the Em Strang’s Bird-Woman.
My dreams are full of skaters, spells, and wings. These are just the types of books I love, ones that bring you along head-tilted and stumbling, not sure if the path beneath your feet is solid or black ice. Books full of spells and enchantments. Images that carry the tang of fallen leaves and the hiss of snow.
Erin Coughlin Hollowell, Balancing dreams and reality
we undress together down to our satchel of lost poems refusing to be more than alive
Grant Hackett (untitled monostich)
