June 2019 – Page 3 – Via Negativa

June 20, 2019 by Dave Bonta

Pot belly

Up, and to the office, and there sat all the morning. At noon dined at home, and thence with my wife and father to Hales’s, and there looked only on my father’s picture (which is mighty like); and so away to White Hall to a committee for Tangier, where the Duke of York was, and Sir W. Coventry, and a very full committee; and instead of having a very prejudiced meeting, they did, though indeed inclined against Yeabsly, yield to the greatest part of his account, so as to allow of his demands to the value of 7,000l. and more, and only give time for him to make good his pretence to the rest; which was mighty joy to me: and so we rose up. But I must observe the force of money, which did make my Lord Ashly to argue and behave himself in the business with the greatest friendship, and yet with all the discretion imaginable; and [it] will be a business of admonition and instruction to me concerning him (and other men, too, for aught I know) as long as I live. Thence took Creed with some kind of violence and some hard words between us to St. James’s, to have found out Sir W. Coventry to have signed the order for his payment among others that did stay on purpose to do it (and which is strange among the rest my Lord Ashly, who did cause Creed to write it presently and kept two or three of them with him by cunning to stay and sign it), but Creed’s ill nature (though never so well bribed, as it hath lately in this case by twenty pieces) will not be overcome from his usual delays.
Thence failing of meeting Sir W. Coventry I took leave of Creed (very good friends) and away home, and there took out my father, wife, sister, and Mercer our grand Tour in the evening, and made it ten at night before we got home, only drink at the doore at Islington at the Katherine Wheel, and so home and to the office a little, and then to bed.

my fat is like a full
committee meeting

I observe the force
of friendship in it

hard to stay strange
with so grand a wheel

Erasure poem derived from The Diary of Samuel Pepys, Thursday 14 June 1666.

June 19, 2019June 19, 2019 by Luisa A. Igloria

Sewing Lessons

Scissors and paper, needles and knives—

      white chalk and the outline of a body

on tracing paper. We were always

      trying to make copies of ourselves,

   each time on better material. Mother's favorite

      was satin or chiffon. My love

for things that shine and loft

    must come from this. My quickness

to tears, habit of tearing out hems

      and losing one of a pair: talents

     I learned on my own. Loneliness is a row

      of buttons not touching, closing a dress

all the way to the top: mother-

    of-pearl silences, their shallow depths

swirling with all the things we didn't say.

In response to Via Negativa: Visionary.

June 19, 2019 by Dave Bonta

Heart, attacked

Up, and by coach to St. James’s, and there did our business before the Duke as usual, having, before the Duke come out of his bed, walked in an ante-chamber with Sir H. Cholmly, who tells me there are great jarrs between the Duke of Yorke and the Duke of Albemarle, about the later’s turning out one or two of the commanders put in by the Duke of Yorke. Among others, Captain Du Tell, a Frenchman, put in by the Duke of Yorke, and mightily defended by him; and is therein led by Monsieur Blancford, that it seems hath the same command over the Duke of Yorke as Sir W. Coventry hath; which raises ill blood between them. And I do in several little things observe that Sir W. Coventry hath of late, by the by, reflected on the Duke of Albemarle and his captains, particularly in that of old Teddiman, who did deserve to be turned out this fight, and was so; but I heard Sir W. Coventry say that the Duke of Albemarle put in one as bad as he is in his room, and one that did as little.
After we had done with the Duke of Yorke, I with others to White Hall, there to attend again a Committee of Tangier, but there was none, which vexed me to the heart, and makes me mighty doubtfull that when we have one, it will be prejudiced against poor Yeabsly and to my great disadvantage thereby, my Lord Peterborough making it his business, I perceive (whether in spite to me, whom he cannot but smell to be a friend to it, or to my Lord Ashly, I know not), to obstruct it, and seems to take delight in disappointing of us; but I shall be revenged of him.
Here I staid a very great while, almost till noon, and then meeting Balty I took him with me, and to Westminster to the Exchequer about breaking of two tallys of 2000l. each into smaller tallys, which I have been endeavouring a good while, but to my trouble it will not, I fear, be done, though there be no reason against it, but only a little trouble to the clerks; but it is nothing to me of real profit at all.
Thence with Balty to Hales’s by coach, it being the seventh day from my making my late oathes, and by them I am at liberty to dispense with any of my oathes every seventh day after I had for the six days before going performed all my vowes.
Here I find my father’s picture begun, and so much to my content, that it joys my very heart to thinke that I should have his picture so well done; who, besides that he is my father, and a man that loves me, and hath ever done so, is also, at this day, one of the most carefull and innocent men, in the world.
Thence with mighty content homeward, and in my way at the Stockes did buy a couple of lobsters, and so home to dinner.
Where I find my wife and father had dined, and were going out to Hales’s to sit there, so Balty and I alone to dinner, and in the middle of my grace, praying for a blessing upon (these his good creatures), my mind fell upon my lobsters: upon which I cried, Odd zooks! and Balty looked upon me like a man at a losse what I meant, thinking at first that I meant only that I had said the grace after meat instead of that before meat. But then I cried, what is become of my lobsters? Whereupon he run out of doors to overtake the coach, but could not, so came back again, and mighty merry at dinner to thinke of my surprize. After dinner to the Excise Office by appointment, and there find my Lord Bellasses and the Commissioners, and by and by the whole company come to dispute the business of our running so far behindhand there, and did come to a good issue in it, that is to say, to resolve upon having the debt due to us, and the Household and the Guards from the Excise stated, and so we shall come to know the worst of our condition and endeavour for some helpe from my Lord Treasurer.
Thence home, and put off Balty, and so, being invited, to Sir Christopher Mings’s funeral, but find them gone to church. However I into the church (which is a fair, large church, and a great chappell) and there heard the service, and staid till they buried him, and then out. And there met with Sir W. Coventry (who was there out of great generosity, and no person of quality there but he) and went with him into his coach, and being in it with him there happened this extraordinary case, one of the most romantique that ever I heard of in my life, and could not have believed, but that I did see it; which was this:
About a dozen able, lusty, proper men come to the coach-side with tears in their eyes, and one of them that spoke for the rest begun and says to Sir W. Coventry, “We are here a dozen of us that have long known and loved, and served our dead commander, Sir Christopher Mings, and have now done the last office of laying him in the ground. We would be glad we had any other to offer after him, and in revenge of him. All we have is our lives; if you will please to get His Royal Highness to give us a fireship among us all, here is a dozen of us, out of all which choose you one to be commander, and the rest of us, whoever he is, will serve him; and, if possible, do that that shall show our memory of our dead commander, and our revenge.” Sir W. Coventry was herewith much moved (as well as I, who could hardly abstain from weeping), and took their names, and so parted; telling me that he would move His Royal Highness as in a thing very extraordinary, which was done. Thereon see the next day in this book. So we parted.
The truth is, Sir Christopher Mings was a very stout man, and a man of great parts, and most excellent tongue among ordinary men; and as Sir W. Coventry says, could have been the most useful man at such a pinch of time as this. He was come into great renowne here at home, and more abroad in the West Indys. He had brought his family into a way of being great; but dying at this time, his memory and name (his father being always and at this day a shoemaker, and his mother a Hoyman’s daughter; of which he was used frequently to boast) will be quite forgot in a few months as if he had never been, nor any of his name be the better by it; he having not had time to will any estate, but is dead poor rather than rich.
So we left the church and crowd, and I home (being set down on Tower Hill), and there did a little business and then in the evening went down by water to Deptford, it being very late, and there I staid out as much time as I could, and then took boat again homeward, but the officers being gone in, returned and walked to Mrs. Bagwell’s house, and there (it being by this time pretty dark and past ten o’clock) went into her house and did what I would. But I was not a little fearfull of what she told me but now, which is, that her servant was dead of the plague, that her coming to me yesterday was the first day of her coming forth, and that she had new whitened the house all below stairs, but that above stairs they are not so fit for me to go up to, they being not so. So I parted thence, with a very good will, but very civil, and away to the waterside, and sent for a pint of sacke and so home, drank what I would and gave the waterman the rest; and so adieu. Home about twelve at night, and so to bed, finding most of my people gone to bed.
In my way home I called on a fisherman and bought three eeles, which cost me three shillings.

a great jar of blood
heard of the heart

doubtful that when we have one
it will be an advantage

it cannot be a friend
or take delight

it will not reason but only perform
and look like meat

or so I think at a funeral
how love lives

in the tongue
of a dying shoe

Erasure poem derived from The Diary of Samuel Pepys, Wednesday 13 June 1666.

June 19, 2019 by Dave Bonta

Visionary

Up, and to the office, where we sat all the morning. At noon to dinner, and then to White Hall in hopes of a meeting of Tangier about Yeabsly’s business, but it could not be obtained, Sir G. Carteret nor Sir W. Coventry being able to be there, which still vexes [me] to see the poor man forced still to attend, as also being desirous to see what my profit is, and get it.
Walking here in the galleries I find the Ladies of Honour dressed in their riding garbs, with coats and doublets with deep skirts, just for all the world like mine, and buttoned their doublets up the breast, with perriwigs and with hats; so that, only for a long petticoat dragging under their men’s coats, nobody could take them for women in any point whatever; which was an odde sight, and a sight did not please me. It was Mrs. Wells and another fine lady that I saw thus.
Thence down by water to Deptford, and there late seeing some things dispatched down to the fleete, and so home (thinking indeed to have met with Bagwell, but I did not) to write my letters very late, and so to supper and to bed.

to see the poor as us
to see double

the world like a breast
and the body as odd a sight
as well water

to see something fleet
and let be

Erasure poem derived from The Diary of Samuel Pepys, Tuesday 12 June 1666.

June 18, 2019June 18, 2019 by Luisa A. Igloria

In History, Captions Often Do Not Match the Picture

2

~ Cigar Factory in Manila, 1899


Everything, as you can see, is done
by hand: the plowing and sowing, 
the harrowing and weeding. 

In the valleys of the north
and south, they pick the leaves;
they dry in sun, by air 

or fire or flue. How many palillos,
how many manojos travel by wagon
and are spread on factory tables, 

the leaves as brown 
as the hands that sort and roll
them? The smell---the smell 

that clings for days and days 
to their blouses and sayas, 
that they inhale more 

constantly than salt-winds from 
the coast. When you close your eyes, 
can you hear them cough, see dark half- 

moons under each fingernail, feel 
the leathery pelts they pull into tight 
rolls that others will ember and burn?

June 18, 2019 by Dave Bonta

Undercover

Up, and down by water to Sir W. Warren’s (the first time I was in his new house on the other side the water since he enlarged it) to discourse about our lighters that he hath bought for me, and I hope to get 100l. by this jobb. Having done with him I took boat again (being mightily struck with a woman in a hat, a seaman’s mother, that stood on the key) and home, where at the office all the morning with Sir W. Coventry and some others of our board hiring of fireships, and Sir W. Coventry begins to see my pains again, which I do begin to take, and I am proud of it, and I hope shall continue it. He gone, at noon I home to dinner, and after dinner my father and wife out to the painter’s to sit again, and I, with my Lady Pen and her daughter, to see Harman; whom we find lame in bed. His bones of his anckle are broke, but he hopes to do well soon; and a fine person by his discourse he seems to be and my hearty [friend]; and he did plainly tell me that at the Council of War before the fight, it was against his reason to begin the fight then, and the reasons of most sober men there, the wind being such, and we to windward, that they could not use their lower tier of guns, which was a very sad thing for us to have the honour and weal of the nation ventured so foolishly.
I left them there, and walked to Deptford, reading in Walsingham’s Manual, a very good book, and there met with Sir W. Batten and my Lady at Uthwayt’s. Here I did much business and yet had some little mirthe with my Lady, and anon we all come up together to our office, where I was very late doing much business. Late comes Sir J. Bankes to see me, and tells me that coming up from Rochester he overtook three or four hundred seamen, and he believes every day they come flocking from the fleete in like numbers; which is a sad neglect there, when it will be impossible to get others, and we have little reason to think that these will return presently again.
He gone, I to end my letters to-night, and then home to supper and to bed.

a moth at the fire
begins to see

I sit with my bones unread
like impossible letters

Erasure poem derived from The Diary of Samuel Pepys, Monday 11 June 1666.

June 18, 2019 by Dave Bonta

Manic

(Lord’s day). Up very betimes, and down the river to Deptford, and did a good deale of business in sending away and directing several things to the Fleete. That being done, back to London to my office, and there at my office till after Church time fitting some notes to carry to Sir W. Coventry in the afternoon. At noon home to dinner, where my cozen Joyces, both of them, they and their wives and little Will, come by invitation to dinner to me, and I had a good dinner for them; but, Lord! how sicke was I of W. Joyce’s company, both the impertinencies of it and his ill manners before me at my table to his wife, which I could hardly forbear taking notice of; but being at my table and for his wife’s sake, I did, though I will prevent his giving me the like occasion again at my house I will warrant him.
After dinner I took leave and by water to White Hall, and there spent all the afternoon in the Gallery, till the Council was up, to speake with Sir W. Coventry.
Walking here I met with Pierce the surgeon, who is lately come from the fleete, and tells me that all the commanders, officers, and even the common seamen do condemn every part of the late conduct of the Duke of Albemarle: both in his fighting at all, in his manner of fighting, running among them in his retreat, and running the ships on ground; so as nothing can be worse spoken of. That Holmes, Spragg, and Smith do all the business, and the old and wiser commanders nothing. So as Sir Thomas Teddiman (whom the King and all the world speak well of) is mightily discontented, as being wholly slighted. He says we lost more after the Prince come, than before too. The Prince was so maimed, as to be forced to be towed home. He says all the fleete confess their being chased home by the Dutch; and yet the body of the Dutch that did it, was not above forty sayle at most. And yet this put us into the fright, as to bring all our ships on ground. He says, however, that the Duke of Albemarle is as high almost as ever, and pleases himself to think that he hath given the Dutch their bellies full, without sense of what he hath lost us; and talks how he knows now the way to beat them. But he says, that even Smith himself, one of his creatures, did himself condemn the late conduct from the beginning to the end.
He tells me further, how the Duke of Yorke is wholly given up to his new mistresse, my Lady Denham, going at noon-day with all his gentlemen with him to visit her in Scotland Yard; she declaring she will not be his mistresse, as Mrs. Price, to go up and down the Privy-stairs, but will be owned publicly; and so she is. Mr. Bruncker, it seems, was the pimp to bring it about, and my Lady Castlemaine, who designs thereby to fortify herself by the Duke; there being a falling-out the other day between the King and her: on this occasion, the Queene, in ordinary talke before the ladies in her drawing-room, did say to my Lady Castlemaine that she feared the King did take cold, by staying so late abroad at her house. She answered before them all, that he did not stay so late abroad with her, for he went betimes thence (though he do not before one, two, or three in the morning), but must stay somewhere else. The King then coming in and overhearing, did whisper in the eare aside, and told her she was a bold impertinent woman, and bid her to be gone out of the Court, and not come again till he sent for, her; which she did presently, and went to a lodging in the Pell Mell, and kept there two or three days, and then sent to the King to know whether she might send for her things away out of her house. The King sent to her, she must first come and view them: and so she come, and the King went to her, and all friends again. He tells me she did, in her anger, say she would be even with the King, and print his letters to her.
So putting all together, we are and are like to be in a sad condition.
We are endeavouring to raise money by borrowing it of the City; but I do not think the City will lend a farthing.
By and by the Council broke up, and I spoke with Sir W. Coventry about business, with whom I doubt not in a little time to be mighty well, when I shall appear to mind my business again as I used to do, which by the grace of God I will do.
Gone from him I endeavoured to find out Sir G. Carteret, and at last did at Mr. Ashburnham’s, in the Old Palace Yarde, and thence he and I stepped out and walked an houre in the church-yarde, under Henry the Seventh’s Chappell, he being lately come from the fleete; and tells me, as I hear from every body else, that the management in the late fight was bad from top to bottom. That several said this would not have been if my Lord Sandwich had had the ordering of it. Nay, he tells me that certainly had my Lord Sandwich had the misfortune to have done as they have done, the King could not have saved him. There is, too, nothing but discontent among the officers; and all the old experienced men are slighted. He tells me to my question (but as a great secret), that the dividing of the fleete did proceed first from a proposition from the fleete, though agreed to hence. But he confesses it arose from want of due intelligence, which he confesses we do want. He do, however, call the fleete’s retreat on Sunday a very honourable retreat, and that the Duke of Albemarle did do well in it, and would have been well if he had done it sooner, rather than venture the loss of the fleete and crown, as he must have done if the Prince had not come. He was surprised when I told him I heard that the King did intend to borrow some money of the City, and would know who had spoke of it to me; I told him Sir Ellis Layton this afternoon. He says it is a dangerous discourse; for that the City certainly will not be invited to do it, and then for the King to ask it and be denied, will be the beginning of our sorrow. He seems to fear we shall all fall to pieces among ourselves.
This evening we hear that Sir Christopher Mings is dead of his late wounds; and Sir W. Coventry did commend him to me in a most extraordinary manner.
But this day, after three days’ trial in vain, and the hazard of the spoiling of the ship in lying till next spring, besides the disgrace of it, newes is brought that the Loyall London is launched at Deptford.
Having talked thus much with Sir G. Carteret we parted there, and I home by water, taking in my boat with me young Michell and my Betty his wife, meeting them accidentally going to look a boat. I set them down at the Old Swan and myself, went through bridge to the Tower, and so home, and after supper to bed.

up and down
how sick was I of joy
like the surge of the sea
up and down
falling like a sad wing
under the sand
a secret city
lying till next spring
going down
and up

Erasure poem derived from The Diary of Samuel Pepys, Sunday 10 June 1666.

June 17, 2019June 18, 2019 by Luisa A. Igloria

In History, Captions Often Do Not Match the Picture

1

In Theodor De Bry's "Indians 
Planting Corn" (1590), the field 

is a quilt or rows of dominoes, 
and the natives also resemble 

nothing like themselves. The men
wear loincloths and bend over the sod

with round-tip shovels that seem
to have melted in the heat. The women

with short fringed skirts walk in a semi-
circle as though around an invisible 

maypole, their hands holding seeds, 
making cupped gestures. Why do they look 

like Venus rising from the foam, ringleted
hair cascading over napes and shoulders? 

I do not see a single Indian here. Or 
the artist has made them victims 

of body-snatchers. The only brown tint 
is from the ink of the engraving or yellowed

parchment. Only the woman in the foreground
displays both breasts in the way that either

heathens in need of saving do, or 
alabaster goddesses with no arms.

June 16, 2019 by Luisa A. Igloria

Ora et Labora

Only by grace do we still labor.
We eat in the park from paper plates

& lick the yellow icing from too-
sweet bakery cupcakes; & peel the meat

from the bone with sticky, clumsy
fingers. Only by effort do we hammer

planks pried loose by the heat
back into the ribs that have tightened

on the deck. Only by breathing do we keep
track of time: what's past & what looms

like the shadow of an animal, its howl
an echo we hear hunting in the small

hours of night. We should have been torn
to pieces long ago in the maw of this

machine; or turned on a spit & lanced
in the side. But we lie in the sun,

made sleepy by the effort to finish some
task. We pick flowers to lay on the tombs

of our dead. We write or read to keep back tears
or questions. We listen for what doesn't come.

In response to Via Negativa: Blues.

June 16, 2019June 16, 2019 by Dave Bonta

Poetry Blog Digest 2019: Week 24

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. This week: how to make time to write, how to pull a chapbook together, how to cultivate the proper mindset for poetry, how to stay motivated (especially in the summer), how to measure success as a poet, how to write about rock ‘n roll, and more.

It’s the summer holidays here, kids everywhere and I don’t know if I’m coming or going with my writing. We’ve all been sick with various bugs so I’ve been too tired or ill to focus much on the Wendy Pratt course I’ve joined though I’m enjoying the different focus of the prompts. I’m not able to write every day, but I’m trying to grab time here and there. I hate not being able to join in on the Facebook page as much as I would like, though we had a good online group chat last week. Wendy’s releasing a new course soon, so keep an eye on her site for details.

The current course is focussing on ‘Writing with a Beginner’s Mind,’ offering techniques that help you lose that critical voice that often plagues writers, the worries that the work isn’t good enough, the guilt that we never will be able to balance our lives and writing. I do struggle with the later most, trying to be a single parent and a writer and find a real job to support my family has its share of guilt. I need to try Wendy’s meditation and focus exercises more, my monkey brain has monkey brain and I can never turn all the noise off. Even more so with four monkeys climbing around the house.

One of my favourite prompts so far has been to think about the idea of ‘banned words’ in poetry, words that are too dated, over-used, purple. I went and found a list of archaic words and wrote a poem playing with them. I love dictionaries and thesaurus and using them to find new words and meanings. It makes you see language in a new light. What do you think, should words like shard and gossamer be banned from contemporary poetry?
Gerry Stewart, Writing with Monkeys

Day Five, June 14, 2019: Did I say I liked those new drafts? Phbbbbtttt. I spent today reworking the original four, and then working on two more, and then trying to psych myself up for a third or fourth. But Starbucks was freezing, and I found myself distracted by ALL THE INTERNET THINGS, which is dangerous and I should probably get one of those internet-blocking apps for my laptop and ALSO probably lay off the coffee IF my absence of periods in this paragraph are any indication of what it does to me on an empty stomach.

But one of the good things about my internet distraction is that this morning I read this beautiful new/old poem by S.P. (I believe it was written a while ago, but it’s something unpublished as of yet) and that restored a little bit of my faith in the poetry universe. NYRB is actually publishing long poems! NYRB is actually publishing poems! By someone I know who really deserves it!

Yeah, I should probably lay off the caffeine.
Sarah Kain Gutowski, Micro-Sabbatical/DIY Starbucks Residency 2019: Take Two

Coming back on the subway I was like, you know, actually that poem with the astronaut image kind of sucks, the collage is good but otherwise it’s trash and you should tear it up.
I reluctantly agreed with this ‘second opinion.’ I did like the launch of the poem but the end deteriorated. I spent another who knows how long rethinking the poem. With a visual poem it’s not like you just erase the offending line. I had to destroy the page and hope there was another untouched p. 57 (?) in one of my five copies of Misery (there was). Luckily I could peel the collage off the page and re-use it. Thank you Uhu.
I believe I’ve salvaged it. It’s been about 22 hours now and I haven’t had any ominous pangs of doubt yet.
Sarah J Sloat, Ground control

Looking back, I’ve identified that piece of writing as a breakthrough for me. I wrote prose because I was responding to prose, certainly, but I think I was also looking for something new. Now I’ve committed myself to a target of 2 pages of writing a day, prose naturally lends itself to that. It’s much harder to do that type of target for poems; they come from a different place for me, a different process. It’s like the sculpture of Giuseppe Penone above. Poems are the words that snag in the branches, whereas prose is the tree – it starts from the solid trunk and spreads out. This is a very subjective definition, I know, but sticking to two pages a day I feel I can follow a branch to its tip, then return to the trunk and follow another branch, and so the writing grows. Another thing I’ve begun to realise is that the short story, as a form, probably won’t hold everything I want to say. So, I’ve had to admit to myself that I’m working on a novel. This isn’t intentional. It’s just sort of crept up on me.
Julie Mellor, Poems are the words that snag in the branches

I enjoy the way your chapbook, Dark Purple Intersections (inside my Black Doll Head Irises), offers a cohesive narrative arc. Please tell us about your collection and how it came into being? Did you plan to have a narrative arc to these poems or did you discover the narrative as you started writing?
For several years, I was working on this collection in bits and pieces. I had it tentatively titled “45” on my computer, because I tentatively planned to complete it when I was that age. It ended up taking longer. Basically, any time I wrote a few poem lines or a possible poem that was focused on personal age related issues, personal body based issues, negative memories of past relationships, and so forth, I’d place it in the collection-in-progress.
So I did plan to have a narrative arc, but during most of the writing process, I wasn’t focused on how I was going to arrange that arc. I was focused on the writing.
When it reached the point where I was ready to actually format it into a chapbook manuscript, there was some revision, including lines removed, lines added, and removing some whole poems — but the most challenging and time consuming part of finalizing the manuscript was deciding how to order all of the poems. I just had various different poems and poem lines semi-randomly bunched together, 2-4 on a page, and had to decide how to format their order, both thematically, and in a certain time frame sort of way — but not entirely past to present, more of a back and forth, semi-circle sort of interrelated intersection. As I was reading and re-reading the poems, I was tentatively numbering them — but then I’d think I had 1-7 numbered the right way, but then I’d end up changing my mind or writing another poem and suddenly having a 5.2 and 5.3 in the mix. Furthermore, I’d occasionally change what had been two separate poems into one whole poem or add another three lines to a poem and so on.
It took some time, but when I finally got all the poems ordered in a way that I thought worked stylistically and thematically, I then removed all of the numbers and bolded the first line of each poem.
Not too long after I had the manuscript completed, I then started to feel kind of weird about the collection, because I feel like it might be almost TOO confessional in a way that makes me seem really unappealing — not in terms of my poetry itself; but in terms of my negativity, my lifestyle choices, my relationship issues, my body-focused issues and related attributes — but that was what felt the need to come out in this collection, uncomfortable or not.
Andrea Blythe, Poet Spotlight: Juliet Cook on dolls, body, and uncomfortable poetry

Hail: One of Nature’s curve balls
Except: Nature is always throwing curve balls. My mother-in-law’s gardens were beautiful, but she always eyed them critically. It is true that most gardeners notice what isn’t thriving, where the weeds are, or what has not grown out or bloomed as hoped. That comes with the territory. But the process of gardening is so much more enjoyable, even soothing, when one is not a perfectionist.
Not being a perfectionist myself, I find that time in the garden acts as a meditative oasis. It is part mindless physical labor, part problem-solving, part mindful awareness of the environment. This year, I’m making it even easier by planting fewer vegetables and fruits and more blooms to attract pollinators; I’ve a smaller variety of produce but am experimenting with some new (to me) seeds–a melon from the Caucasus, a few heirloom tomatoes, black beans as well as green ones.
I learn as I go–as I cull and thin, inspect insect damage, note responses to growing conditions. It occurs to me that this activity bears a resemblance to the writing process, particularly when putting together a collection for a chapbook or longer manuscript. In that undertaking, I’m also not a perfectionist; and I should not be quite so quick to gainsay the need for the perfectionist attitude when creating one’s art (as long as it does not lead to fruitless caviling).
But I’m just not constitutionally ordered towards that sort of purist idealism. The best I can do with my poems is similar to the best I can do with my gardens: devote mindful attentiveness to the “product” and try not to worry about eventual outcomes.
“Write a little each day, without hope, without despair.” —Isak Dinesen [Karen Blixen]
See what grows.
Ann E. Michael, Not a perfectionist

I confess that I feel like I need to be a bit of a hustler. Hurry and get more work submitted. I try to balance writing time with administrative things, like submissions, notes, and reading. I need to learn to transition from one to the other better. It’s like yoga for me as a newbie- Learning the individual poses is one thing. It’s another whole challenge to learn to smoothly flow from one position into another and another. I confess that when I have an acceptance or rejection I always feel the need to immediately make sure I have more work out there. There was a time when I had a lot of poems floating around between various venues but as I work harder to satisfy myself with each poem, the time spent increasing my vault (so to speak) of material that is available means I am adding to it at a slower pace and therefore feel the pressure to increase material available for submission.
Michael Allyn Wells, Confession Tuesday – One Less Orphan Poem.

One of the things we talked about was how to stay motivated to keep writing and sending out in the summertime, how to bounce back from rejections that feel personal, and the harm of “Instant Star” narratives. These are the profiles in magazines or podcasts from young writers where they say “I sent my poetry manuscript out once, and it was taken at a big press, and then I won a major fellowship and got a tenure-track teaching job and was sprinkled with rainbows and unicorns.” Well, the end might be a little bit of hyperbole. The reason I don’t like younger writers to read these kinds of interviews and profiles is because it’s not even close to the reality for most writers, and if they think it is, then they will start out feeling more discouraged than they should. One writer friend said she was taking a class from Nick Flynn and he said it took him ten years to get his first book published. It took me eighteen months to find a publisher for my first book, but six years to find a publisher for the second. Right now I’m researching presses for my sixth poetry book which I think is pretty close to being done and a seventh that’s in progress. I expect to spend some money on reading fees (they are getting higher every year, so I set aside any money I make from poetry to spend on them) and to get some rejections. I worry that I’m getting a little older and the editors are getting younger. I worry my poetry is not “hip” enough, and that the subject matter (like my poems about dealing with multiple sclerosis) might be too downbeat. But I think I know to expect some rejections along the way, and I try not to take rejections of the manuscript (or fellowship/grant applications) personally, although honestly, it’s difficult not to. Hey, I’m not made of stone. One of the reasons it’s important to talk with other poets is that it reminds us we are not the only ones who struggle with these things. All of my poet friends – no matter how successful they seem to me – worry about a lot of the same things. Very few people are instant stars. A lot more people work really hard in obscurity, taking adjunct jobs and doing reading where few people show up and sending out their manuscripts as many times as they can afford. A lot of times rejections come in waves, but so do acceptances. And sometimes good luck happens in clusters. Anyway, for those of you looking towards summer, don’t forget to keep writing and keep sending out your work – these days publishers and literary magazines have deadlines year-round, especially the non-academic ones. And remember not to get beaten down by your rejections, and to help celebrate when you or your friends have a success, even if it seems small to you – I think our brains are hard-wired to focus more on the rejections than the acceptances, so we have to break out the sparkling wine and cake more often!
Jeannine Hall Gailey, Almost Summer, Poet Friend Hang Out Time, and Sending Out (Even When You Feel Discouraged) and the Harm of Instant Star Narratives

But all in all, except for having a very lovely set of books on my shelf and a sense of accomplishment for actually having filled their pages with words, I can’t say publishing a book has changed much in my way of life. I still have a day job where most of the people I encounter do not know about my books, or even that I’m a writer. Outside of occasional tiny royalty checks from a couple of the publishers, there hasn’t been much financial gains. I’m not an academic, and I know having books might make tenure considerations easier, but since I don’t really seek out positions or awards or fellowships, my books are pretty much useless there. When you a re trying to get that first book accepted it sometimes feel like this is the thing–THE THING–that will make you a real poet. But it’s not. Writing the poems is what makes you the poet. I had two books by the late aughts, and for several years, I felt like barely a poet because I wasn’t writing hardly at all.
Even with those successes, it still feels hard when you’re trying to figure out where to send something new, particularly if the work feels different and you haven’t figured out which press it would fit into. And subsequent books are usually harder–2nd books especially so, since even if you win a contest, there are very few for 2-3 books and you’ve yet to establish the sort of career that might make it a bit easier in the long haul. Some advice? Forge those connections and find those publishers. Study the books of presses you admire and think about how your work might fit. Don’t be afraid to take chances on new publishers that are willing to take chances on you. Sometimes, it helps to swim ahead of the bottleneck Aside from contests, there are a lot of open reading periods out there waiting to read your book. If you enter contests, pay attention to who is judging and whether their style meshes with yours (not always a requirement, sometimes judges make surprising choices of work not anything like theirs) but usually you look at a winner and think, well, yes, I can see why that held appeal for that particular judge.

And in the end, do what feels necessary for you. If you have spent hundreds unsuccessfully on reading fees and still no takers, but feel you could market and sustain an audience for a self-published book, that is another option. I’ve long believed that you create the market for your work whoever does the printing, so self-issuing might be another way to go. It’s a ridiculous bottle neck and becomes moreso every year, and sometimes we don’t want to wait for the winds of chance to blow our book into exactly the right editor’s hands at the exactly right moment.
Kristy Bowen, the myth of poetry stardom

I am reading about thermodynamics and quantum theory in order to better understand some poems, naturally. A former undergraduate student–a poet and a Physics/ English double-major, Max Chapnick–is now an English PhD student at Boston University, and he contacted me last summer about putting together a panel on physics and poetry for the International MLA Symposium. It was accepted, so now we’re all going to Lisbon in late July (hurrah!). This requires me to spend a few preparatory weeks analyzing Samiya Bashir’s excellent 2017 collection from Nightboat, Field Theories. I understood what she was doing with thermodynamics and quantum theory just enough to generate a proposal, but to be able to write in some depth about what radiation means in her book, how blackbodies function, whether or not that one poem is meant to resemble the “ultraviolet catastrophe” graph, etc.–well, it’s hard.
“Work is motion against an opposing force,” [Peter] Atkins writes [in The Laws of Thermodynamics: A Very Short Introduction], and I’ve definitely been feeling the weight of my own intellectual resistance. It’s not that I don’t want to do the writing or even the thinking; it’s a privilege, truly. But I’ve been puzzling through problems laboriously, in a mood of worry. I’ve written before about the annual difficulty of kicking my brain into a different gear, and surely that’s part of it, but I’m also experiencing one of those bouts of insecurity that afflict most writers I know, no matter the genre. It’s not only “am I interpreting these difficult poems in plausible ways?” but something more like “are my scholarly/ interpretive moves sufficiently interesting that anyone would really want to read or listen to me, or is everyone just humoring me because I once showed some intellectual promise and remain a reasonably nice person who tends to do the work and show up on time?” It doesn’t help my morale that I was just informed that I’ll receive an average raise this year, percentage-wise, when I know my DH recommended me for an exceptional one. Between you and me, I did a monstrous amount of good teaching, service, and publication in 2018, but my radiation did not seem to fall into the spectrum of visible light.
This is not my first self-doubt rodeo, so I can reassure myself that continuing to work is better than the alternatives, and confidence comes back. Besides, delivering Bashir’s accomplishments to new audiences is in itself worthwhile service to an art I love. And when self-doubt veers into guilt, as it should sometimes–a mediocre raise, how sad for you! or why do I get to eat a nice lunch and metabolize the results into criticism while refugees ail at the border in dangerously overcrowded detention camps?–I should make a donation or put that rally on my calendar, but still keep dispersing most of my daytime labor among tasks I’m competent at and believe are worthwhile.
Lesley Wheeler, We are all steam engines

Since the potency of rock-and-roll derives from its synthesis of lyric, melody and instrumental delivery, attempts in fiction to cast a net of words over the process have, in general, delivered little more than arid analysis or histrionic reportage. As far as I’m aware, poetry has, by and large, left the territory unexplored. So my desire to try to write a sequence of poems about an individual musician’s experience of the suffocation of creative endeavour by the payload of commercial and cultural overlay that is so much a part of the phenomenon seems ill-advised, even a tad arrogant, so many having failed thus far.
But that first superstructure and the skeletal infrastructural notions that followed them won’t go away. Originally I wrote a first stanza, a sort of chorus that I decided would intersperse subsequent sections. Now it just sits at the top of the poem as a sort of testament to what it is that in performance fires the adrenaline and pops the endorphins. The rest – the narrative content, the pumped language and the form that contains it – keeps shifting every time I return to it. All that reiterates after the abandonment of one version after another is the drive to bring something into being. So here is how it lies across the page at this precise point in time… [Click through for the poem.]
Dick Jones, BRIGHT STAR, BIG SKY.

A big thank you to writer and artist J.I. Kleinberg for writing a review of my book of poetry The Lure of Impermanence (Cirque Press 2018), in the most recent volume of Cirque Journal – Vol. 10. No. 1. You can check the complete review by going to the Cirque link above.
Reviews are scary things. Having your work judged by another takes a certain amount of armor. Putting yourself out there is a bit like being back in Junior High and wondering if you are going to be asked to sit at the “cool kids” table.
With that said, Judy was kind and gave me one of the biggest compliments I could have craved. As many of you know, who follow this blog, my last blog post was called Return Flight and I wrote about flying home to my beloved Pacific Northwest. Kleinberg says my poems are painterly and cinematic, that they are crafted with care and precision, all of which I appreciate. But what I especially appreciate is that she “got” my poems are rooted in most profoundly, place and anchored in the towns of Oregon and Washington.
I hope in some small way my writing can be a witness to how place has the ability to nurture and shape us. I am a fourth generation Oregonian. My family stories are rooted west of the Cascade Mountain Range in both these States and I believe like William Stegner that no place is a place until things that have happened in it are remembered in history, ballads, yarns, legends or monuments. And though not all the poems in this collection are about place, I appreciate that Kleinberg felt its presence important to note.
Carey Taylor, Grateful

Trish Hopkinson is a force in the poetry community with her almost-daily publication of an all-things-poetry blog that informs poets where, how, and why to submit poems; conducts interviews with editors of no-submission-fee journals; and publishes guest blogs addressing all aspects of writing, reading, submitting and publishing poetry. I’ve followed this blog avidly and very much appreciated her recent interview introducing The Poetry Café.
With such a footprint in the world of poetry, I was curious to read Hopkinson’s work. Footnote was published by Lithic Press in 2017 with the subtitle of “A Chapbook of Response Poems.” Each of the twenty poems in Footnote has either a footnote or a dedication (some as ‘for,’ others as ‘after‘), inscribed beneath the poem. Each poem embraces the spirit of its annotation, at times using found lines, erasures, or the style of another writer. While visually each poem has the familiar appearance of lines and stanzas on the page, they each possess a quirky—somewhat experimental—writing style. An example of a poem I particularly enjoyed was, “And Finished Knowing – Then –,” footnoted with a nod to Emily Dickinson, of course, but with Hopkinson’s sly imprint,
I conjured a childbirth, in the air,
and nurses all askew
stood standing – standing – till the dream
seemed real enough to chew.
I wondered how the poems in the book came together. At an interview at The Literary Librarian, Hopkinson explained the book’s origins:
“In 2015, after teaching a community poetry writing workshop on response poetry, I realized I had quite a few response poems of my own. So in this case, the collection was a surprise waiting for me in already completed work.”
These days we find a wealth of ‘Response Poems’ that foment resistance to injustice and oppression. Hopkinson’s responses come from a different tradition—emotional and spiritual responses to other artists that have affected, influenced, and secured a solid foothold in her psyche and writing. Footnote is in essence a work of conversations. Her dedications include an artist (Everett Ruess), a musician (Janice Joplin), a filmmaker (David Lynch), and a writer (James Joyce), but are mostly poets (Baraka, Paz, Rilke, Ai, Neruda, Dickinson, Plath, Rumi, Poe, Ferlinghetti, Ginsberg). As a reader, I always find myself wanting to know the poet through the poems. We get a nuanced taste of Hopkinson from her choices. While a first person voice is mostly absent in these pages, the poems are strong evidence of her appetites.
Risa Denenberg, Footnote, by Trish Hopkinson

I read this as a pibroch, a lament for dispossession, and for the despoiling of the earth. Bothies shelter storm-caught walkers, but they are invariably the abandoned houses of folk who could no longer be sustained by the land, or who were forcibly cleared from it. Homes Fit for Heroes indeed. Nothing can sentimentalise them. The moors are ‘marching back’, the masonry’s crumbling, the seas are choked with plastic and the birds and the fish are gone. What’s left is the roll-call of the Gaelic placenames from a time when the people who spoke them knew what they described. It’s a haunting angry poem that sticks in the mind and the heart.
John Foggin, My kind of poetry: David Underdown

I read an article recently about an exhibition of what remained of the refugee camp at Calais, the things carried by people who, forced to again move on, carried them no farther. Notes and small weapons and paper dolls. I think about the artwork by the children of the Terezin ghetto, now held in Prague’s Jewish Museum. In an article in the Atlantic, “Elegy for the American Century,” George Packer writes about Richard Holbrooke and the break-up of Yugoslavia, and atrocities in Bosnia, Serbia, and Croatia. In the article, Holbrooke visits a refugee camp near Zagreb hosting Bosnian Muslums who had escaped the ethnic cleansing in Bosnia. The author wrote:
“As Holbrooke started to leave, the baker brought out a dirty plastic bag from under his mattress. Inside was a pair of small figures, three or four inches tall, in blond wood. Human figures, with nearly featureless faces and heads bowed and hands together behind their backs. The baker had carved them with a piece of broken glass while he was interned at the Manjača camp, where the prisoners had stood bound for hours with their heads down to avoid being beaten.”
We are makers, we people, of objects that, though mute, express the best, and the worst of us (there are at least eight torture museums in Europe alone). For all our wordiness, our flapping mouths, it’s what we make that remains to tell the tale.
Poetry too is a made thing, and I love the “poem in your pocket” day idea, although I’ve never actually taken part, love the idea of that little curled piece of paper, an artifact of a tender skinned human in the world.
Marilyn McCabe, There’s a hole in the bucket; or, the Stories of Objects

Long fingers on the metal of a knife
Dinner before one leaves for many years
Even if you forget how a body feels
it can still take place and hold your hand at night

It’s not a ghost if it’s a living soul
It’s not lost if it doesn’t want to be found
It’s not there but also not gone
Magda Kapa, Dinner Talk

I no longer remember why I started out, or where I thought I was going. It doesn’t matter anyway. It is the journey itself that counts. Was I kind? Did I help? What did I learn? When a person can give positive answers to questions like that, they’ve had a life.

Warmer today. Upper 90s. There’s air conditioning at today’s poetry reading, but I’ll get sweaty anyway.

Stayed up 1 AM last night, working on poems. Didn’t even notice the time. It took me all of 30 seconds to fall asleep.
James Lee Jobe, journal notes – 16 june 2019