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.
An unusually rich harvest of blog posts to choose from this week. (Well, it is harvest season.) I’ve done something a little different and included two calls for submission, but each has that personal blogging touch that I look for, so hopefully it isn’t too jarring a departure. If there are any other things that might seem a bit odd, I blame it on my Airbnb host who has been plying me with delicious homemade wines and cordials for the past four hours.
The sharp October sunUma Gowrishankar, The movement
pierces through the squint in the eye
to the undergrowth of memory.
The pearl diver dark and slick with oil
like the sinuous serpent of an eclipse
when it swallows the moon,
drops into the stillness of unbecoming.
I wrote reams of poetry in middle and high school (with maybe one poem a year worth remembering), but when I got to college, the demands of academic life changed my relationship to my work. At Kenyon College, you couldn’t just sign up for creative writing courses; every semester, you had to submit a writing sample and be selected for workshops. Workshop sections only had 10 slots, and as you’ve probably guessed, there were way more applicants than available seats. By the time I was a junior, I in the midst of my first bout of creative burnout from the stress of having my ability to earn a creative writing concentration determined by constant auditions. I focused on literature instead, and as I moved toward honors courses, poetry became something I worked on in the summers, if at all.
What I didn’t realize then, what I wouldn’t learn until years later, was that the narrow way I defined my creative life—through publishing credits, through the approval of professors, through comparing myself to my peers—was a self-limiting way to go about creative practice. That believing the only way I could call myself a poet was through generating fresh, publishable work on a regular basis was causing more anxiety than inspiration. That being hyper-focused on my own work was cutting me off from the benefits of immersing deeply within a literary community.Allyson Whipple, Notes on creativity and community
Rob Taylor: Many of the poems in your debut collection, Lift, revolve around disappointments, be it with the city (“If she likes you, even a little, / Vancouver isn’t telling”), the wider culture (“Consumption is not a decision / but we practise, just in case”) or personal relationships (“I am single always, you never”). Through it all you seem determined to stay hopeful and optimistic. In “On Saturday,” for instance, you’re stuck at a party where people brag about investing “in real estate / before the bubble” and then it “begins to rain / the way fire spits.” Nonetheless, the poem closes with the line “I am not unhappy”–and the truth is I almost believe it!Rob Taylor, A Very Real and Open Window: An Interview with Emily Davidson
It’s as though the book is channeling the “This is Fine” meme. There’s something very Vancouver, very late-capitalism, very early-to-mid-30s about “This is Fine” energy. Do you see it as present in the book, or am I just projecting (mid-30s Vancouverite that I am)? If it’s there, to what extent do you think this stance is simply your nature, as opposed to a product of the city and time you live in?
Emily Davidson: The funny thing about this is that I actually was happy! “On Saturday” describes one of my favourite days in Vancouver; it was also, coincidentally, the day a good friend told me about their pending divorce. How can such a painful thing and such a sweet, perfect day coexist? Are things genuinely crap, or are they delightful?
The first thing my mother said after she received her copy of Lift was, “I read your book! It made me sad.” Which was puzzling to me, because that wasn’t my intention: I was just paying attention and writing things down. The negatives fail to tip the scales for me, generally. I guess that makes me an optimist?
I could see how the situations, the concerns, the challenges of these poems might channel “This is Fine” energy, might trend towards ennui or despondency if you followed them far enough. The early-to-mid-30s seem to me so far to be a weird blend of small wins and major indignities. That’s real—and that’s not even mentioning Vancouver or late-capitalism (or climate crisis or politics). But I’d be sorry if the book conveyed an overall tone of resignation. I’m not terribly interested in ignoring the things that aren’t fine, there is simply something in my internal wiring that renders me determined to hold onto the funny. The good. The noteworthy. I think art, by its very nature, resists “This is Fine.” (Thank you for coming to my TED Talk.)
I find I have to hold both things at once—I’m here, I’m alive, things are beautiful; I’m here, I hurt, things are falling apart. All of that is always true.
Rob: Yes, you’re right. The “This is Fine” meme is a very different thing from the artist’s perspective than from the dog’s. The dog’s stance–its resignation–is horrific, but we laugh/cringe because we recognize it, and know that sometimes embracing it is our best option. It’s only from outside of that room looking in, as artist or reader, that we can both laugh at, and wrestle with, our behaviour. (You’re the artist drawing the dog, not the dog itself, is what I’m saying!)
So I see “This is Fine” energy less as resignation than awareness and honesty, as you say. And also a call to action: these things happen; this is how we deal with them; could we/should we deal with them differently? Your book asks these big questions of us over and over again in a very compelling way.
Speaking of big questions, in “We Are Dancing to ABBA” you write (of Anglicans, having come from an Evangelical background): “They let me sit very still and unprodded / while I adjusted all my structures.” So many of the poems in Lift grapple with life’s great “restructurings,” whether they relate to religion, relationships, physical relocation, aging, the prospect of parenthood, etc. etc.
I’m curious to what extent the making of this book mirrored what those ABBA-loving Anglicans provided you. Did writing the poems create a still space in which to “adjust your structures”? And if so, what’s it like to see it out in the world now, helping other people consider their own adjustments (past or yet to come)?
Emily: Yes, I think so. Not much about life makes sense to me—does it to you?—and so poetry was a good place to do the work of being uncomfortable. A whole book of tiny doubt cathedrals. (Okay, I maybe see my mom’s point now.) And a good place to uncover the beginnings of what might be built afterwards.
The idea that someone might be able to better consider their own restructurings after having read Lift—that’s the most encouraging thought. The making of the book was one of concentric circles of vulnerability for me: I started with subjects I was content to share, and then I ran out of safe things to talk about and had to wade into the next layer of exposure, and so on. Lift feels like a very real and open window to some of the parts of myself I’m still learning to like, but if someone were to climb through to their own discoveries—then the discomfort would be worth it.
I participated in the climate march last Friday, along with more than half a million other Montrealers. We had a good-sized contingent from Christ Church Anglican Cathedral, and we all met up there, and walked to the starting point together. My husband, who’s a professional photographer, roamed around the route of the march, and ended up just behind the official press area at the stage where Greta Thunberg eventually spoke. […]
In my lifetime, I don’t think I’ve ever seen anyone quite like this young David going up against Goliath. Montreal is not a religious city any longer, but it is a principled and progressive international city where people think, and are willing to stand up for their beliefs. Last Friday, it felt like part of what the crowd was doing was holding Greta up with our bodies and our voices, giving her that forum in which to preach, and also giving her “our ears to hear.” Each of us must find our own role in this crucial struggle, and we can’t allow ourselves to be discouraged: it is her future, and the future of all the young and yet-to-be-born of our precious and fragile earth — not just humans, but all living things — that we are responsible for protecting.Beth Adams, Montreal Welcomes a Modern-Day Prophet
Sabotage was the first wordJason Crane, POEM: Interrogation
that came to mind, standing there
in my corporate uniform,
the one with the logo on the left breast.
Could I misdirect the boxes?
Throw them out? Lose them?
But the cameras are always watching
& my number is attached to everything
like a fingerprint. Plus I need the money.
So like a good company man
I sent the syringes to the island prison,
there to be used to protect my freedom
to keep working, to keep wearing my
corporate uniform, the one with the logo
on the left breast.
You write with the bones of the dead
carried in a pouch around your neck.
They hit your breastbone
with each step: We’re here. We’re
here. Hear us.
You know this is how you’ll end up, too,Romana Iorga, The Riddle
if you’re lucky: a sliver
of your former self,
In looking over my poetry selections for the 3rd quarter, I realize several of them have a theme of breakage, rage, powerlessness. But, instead of getting mired in the crap, these poets reclaim their power. This kind of poetry is so important in our troubling times. Also, though, we read here about the restorative power of nature, the beauty in our world that continues despite indifference and even active destruction.
Keep the faith!
Crone by Lucy Whitehead in Mooky Chick.
It’s so gratifying to see creative work by and about older people, especially women. Every poem I’ve read by Lucy has been extraordinary but this one really hits home on a cellular level. I don’t know Lucy’s age but it doesn’t matter – her insight and courage to write the neglected story of older women is all I need to know.
“They told me
to be scared of growing old. But
when the ancient crow that had been sleeping
inside me split my skin and started to shed
the young woman with her burden of being loved,
I found my wings.”
Chorus Frog by William Woolfitt in EcoTheo Review.
Oh, such beautiful imagery in this! William’s poem is ethereal, it puts me in another time and place and there’s something magical in the mood it evokes.
“The season of cracking open, bloodroot,
egg strings. My grandmother chops the cloddy
ground. Many years without him. Onion sets,
new moon peas.”
Still Life of Second-Line by Lizabeth Yandel in The Los Angeles Review.
This poem is about a shooting at a second-line parade in New Orleans, something that happens all too often. Lizabeth writes with precision, horror, and empathy. It’s very well done.
“Sketch the face of the man whose head was shotCharlotte Hamrick, Favorite Poetry, 3rd Quarter
but my hand mis-draws lines like this:
we were at a parade, he just got caught
in the crossfire.”
A number of the other poetry books and chapbooks I read were in honor of the Elgin Awards for the purposes of voting. There were so many amazing works nominated and, unfortunately, I wasn’t able to read every nominated book cover to cover, although some I had read earlier in the year. A few of the ones that I finished over the past month were: Death by Sex Machine (Sibling Rivalry Press) by Franny Choi, a stunning book that explores the Asian female experience through the lens of android characters in film; screaming (Lion Tamer Press) by John Reinhart, a haunting collection of beautifully surreal nightmares; dispatches from the mushroom kingdom (Hyacinth Girl Press) by Noel Pabillo Mariano, which uses video game tropes to explore the experience of loss and memory; The Bone-Joiner (Sycorax Press) by Sandi Leibowitz, which explores witchcraft, intimacy, and art; Invocabulary (Aqueduct Press) by Gemma Files, the author’s first foray into poetry examining the dark underbelly of the world through folklore and hauntings; and No Comet, That Serpent in the Sky Means Noise (Kore Press) by Sueyeun Juliette Lee, which explores human meaning and longing through richly detailed language.Andrea Blythe, Culture Consumption: September 2019
Sara Maitland writes, after spending some years outside of London ensconced in a quiet town, that “going to cities, to large parties, or to any place where there are a significant number of loud, overlapping but different sounds remains stressful and tiring at best.” This reaction is not mere “introversion”–indeed, for most of her life, Maitland appears to have been an exceedingly social and sociable person, quick with a retort, response, or witty reply and often in the company of boisterous, talkative people. She definitely cares deeply about relationships and communication, both between close friends or family members and between reader and writer/author. Like her, though more of a shy person in my younger years than she was, I value communicative aspects of conversation and togetherness while finding it harder than ever to live in the midst of noise pollution.
Of course, writing is a communicative act, a form of creating relationships between reader and writer, and therefore may not always or necessarily thrive amid silence, or in solitude, though that Romantic notion remains intact in most people’s minds. When I consider my own work, I recognize the lyric “you” (implying an Other), the narrative action (requiring the behavior of living beings dwelling in the world with Others), and various interactions among the lines that set up relationships that are not only abstract or metaphorical but concrete and physical, even when the poem skates along the reflective mode (how can there be a consideration of a Myself without an Other?).
So although part of my brief upcoming “retreat” is, in fact, for solitude’s sake–a few days to be alone with my own writing process and make some creative decisions–the solitude’s less urgent than the silence. I’m not an ascetic nor a spiritual seeker, just a writer who wants a few days unplugged (and not entirely so) to mull through ideas and revise some poems. This process seems easier to me when I do not have to deal with anyone’s society, even the companionship of those I love. It’s been quite awhile since I last made this kind of silent time for myself, and I’m curious as to what will result.Ann E. Michael, Silence & solitude
Maybe just some naps and daydreaming, which might not be an entirely fruitless harvest.
Today is the feast day of Saint Francis. This morning I’ve been thinking of the last few times I’ve traveled on feast days. I often get some poem ideas. There’s something about the intersection of the feast day and the change of scenery that sparks my poet brain.Kristin Berkey-Abbott, Traveling on Feast Days
Today I can’t imagine what that spark will be. That’s part of the wonder of it, part of what keeps me wanting to write poems. The surprises in poetry delight me more than the surprises in any other kind of writing.
The Virgin Mary long ago transcended her religious origins to become an instantly recognizable icon. From pop art to pop music, Mary’s status as the Mother of God continues to inspire the faithful and the secular. A statue of Mary weeping blood or appearing in a piece of toast still has the power to make front page news and bring the devoted running with candles and eBay bids. In “Mother Mary Comes To Me,” poets will explore the intersection of the sacred and the larger than life persona that Mary has become throughout the ages and how she still holds sway in the 21st century as a figure to be praised, feared and mined for pathos and humor.Collin Kelley, Call for Submissions – “Mother Mary Comes To Me: A Pop Culture Poetry Anthology”
Submit 1 to 3 poems on the anthology’s theme along with a 100 word bio in a Microsoft Word document by January 1, 2020 to firstname.lastname@example.org. Poems may be previously published, but you must have permission to republish the work and please acknowledge the originating publication. Poets selected for the anthology will receive one free copy.
Piano Microstories is a unique collaborative project calling for poems and photography inspired by pianist and composer Fabrizio Paterlini. I love seeing different art forms combined and this truly looks amazing.
I wanted to know more about this project, so I interviewed editor Ravinder Surah to learn more. See my interview with Surah and a link to submission guidelines below.
You may also want to read recent guest blog post by Sister Lou Ella Hickman on how music can inform poetry: Music: Food for the Writer’s Heart – guest blog post by Sister Lou Ella Hickman
HOPKINSON: Tell me a little bit about Fabrizio Paterlini and Piano Microstories.
SURAH: Microstories is an ongoing continuation of piano scores which Paterlini will subsequently produce into his new musical album under his record label ‘Fabrizio Paterlini Records’.
I am working with the composer to create a publication that functions in harmony with the release of his upcoming album. The publication aims to be a multidisciplinary piece of art that combines photography and poetry in response to these one minute piano scores. We request that potential participants of this open call approach this idea with a considered creative attitude while listening to the music and being true to the emotive response it entices. Each piece of art must be considered in conjunction with the sensation of Fabrizio’s music.
The publication will be curated by Gemma Land and Ravinder Surah alongside Fabrizio Paterlini. We aim for the publication to be around 90 pages. Once the publication is complete a copy of the digital publication will be uploaded online, and each contributor will receive a copy of the digital file. There is also the potential for this publication to be rendered in a physical book format in the future.
HOPKINSON: How/why was the idea for this publication originally started?
SURAH: I have been a lover of Paterlini’s music ever since listening to his album ‘Viaggi in aeromobile’. I remember it like yesterday, the music was captivating to me and I was mesmerised by the sheer minimalistic nature of his beautiful music, it spoke to me and I didn’t hesitate to buy his album that very day all those years ago. Since then I always wanted to work with him on something and offered the idea of a publication to him and now it’s actually happening!Trish Hopkinson, NO FEE/THEMED submission call + editor interview – Piano Microstories/Fabrizio Paterlini, DEADLINE EXTENDED: Oct. 31, 2019
Last night, we had our kick-off for Lethal Ladies: The Women of True Crime–an artist panel with some of the best discussion ever about women and violence.(both as victims and perpetrators.) The art looks amazing, and I’m thrilled to have some fragments from [licorice, laudanum] amongst them. Despite October madness, I am trying to slow down and, you know, actually enjoy the things I am doing, rather than rushing through them and then on to the next thing. Suddenly a year passes and I feel like I’ve done a whole lot of stuff, none of which I have actually been in the moment for.Kristy Bowen, notes & things | 10/4/2019
I am also gearing up and putting the final edits on the Field Museum poems for Wednesday. They are dark and weird and filled with scales and feathers. I’ll probably eventually make some sort of chapbook out of them, but might try submitting some of them first. I’ve gotten really bad about submissions, despite my 100 rejections plan, which went out the window in the summer. I did however, get some good acceptances from what I did send out, so it worked as much as I put into it.
It’s unlike me to have a vacancy sign where my emotions should be (at least not for any length of time), and I really have no idea what precipitated their departure. A little bit of chatter remained, but I couldn’t seem to access real reflection or meaning for 10-12 months. I still experienced things — pleasure, stress, delight, sadness, etc. — but not within my normal register. So the way I’d describe it is that I couldn’t really feel enough to process what anything meant or why it mattered.
During this time, I stopped writing and reading poetry.
I’d try both, but when I failed to feel any kind of way about them (or about the world seen through them), I gave up. This “lack” was my own (as opposed to the poems/poets I was reading).
I have no idea where the capacity to drop down into things went, or why it decided to return, but it *is* returning. The “read 100 poems in 12-ish months” effort is accelerating it, for sure. Coming back to the joyful, careful reading of poetry books — and taking time to make some personal notes about each — is helping me find my voice again. My inner self is speaking to me, and you can bet I’m all ears.Carolee Bennett, “until it is done having feelings”
– We’re not supposed to outlive our children. It isn’t natural. 905 days I have lived in a sort of hell. It’s like a weight you carry that you can’t set down. No, that’s not right. I don’t have the words. Isn’t that funny? A poet without the words. It’s nearly midnight as I write this. Then it will be 906 days without my son in the world. My son.James Lee Jobe, journal notes – 03 Oct 2019
– I was at a poetry reading tonight. One featured poet had to cancel and the host got a young poet to fill in. She has talent. You could hear her youth in her words and in her voice, but you could hear her truth, too. What she wrote was real. And that’s something. Hell, that’s everything.
I had the great pleasure recently of watching a small whale arc up from dark water and descend, arc up and descend, all muscle and gleam, powerful, mysterious, and yet intimate somehow, that glimpse of this Other, strange and yet flesh-like-me, breath, blood, bone. And as I’m also in the midst of first-round-reading for a poetry press (I’ve written about this process in this blog many times, I know), and poetry is much on my mind, it occurs to me that that’s what I’m looking for in a poetry collection: muscle and gleam, strangeness and yet intimacy.Marilyn McCabe, You Make Everything Groovy; or, Writing and Depth
All this talk got me thinking about the future of poetry and the impact of digital technology. I’m not afraid of robots taking our jobs yet – I haven’t met a robotic great writer yet. But perhaps the way we share and learn poetry will be different. Will poetry books be less important that single poems? In a generation that lives on Instagram and Twitter, will a single line of poetry be more important than a whole poem? If universities are not only taking away tenure-track jobs but their support of university presses, where will poetry be published? Who will be the important and relevant publishers of the future? My guess is, those presses are just starting now, with editors twenty years younger than me who understand what appeals to the next generation of readers and how to present poetry to them.
Twenty years ago, my professors told me not to publish in online journals because it would somehow sully my reputation. Now online journals are an important pillar of the poetry community, and even the most old-school journals must adapt to having an online presence or perish. Some of the journals I grew up admiring have disappeared, being replaced by a horde of newer journals. Just as medicine has changed over the years, the poetry world too has been updating and mutating. A lot of the changes are positive and exciting – I see more diversity in voices, which was overdue, and more women and people of color in charge of journals and presses, also overdue. Perhaps poetry books as we know them will change – become multi-media, include more art or music or performance aspects. The voices that will become prominent in 20 years will certainly be different than those I was taught in school. The answer won’t be too different than the advice from the panelists at the conference: Stay flexible. Be persistent. Be resilient. We cannot predict the future, but we can know and be prepared to pivot. With that, I will take a look at my book manuscripts and poems again and think about where to send them. Wishing you a calm and refreshing October, with hope for the future.Jeannine Hall Gailey, Welcome to October, Talking Digital Technology and Loss, Tall Ships, Hawks, and The Future of Poetry