For years I suffered from daily nosebleeds. They happened so often, the teacher barely looked up anymore except to hand me a wad of toilet paper: best not to be a distraction to the lesson, best not to stain clean writing paper with splotches of red. As instructed, I went to sit quietly in one corner of the principal's office, where someone patted my hand kindly, or reminded me to tip my head up and apply pressure on the side of my nostril. Half an hour of counting the ceiling tiles, of guessing who might be passing through the corridor by the shadow they cast on glass jalousie blinds. And the taste— mineral oxides that poured down the back of my throat until they pooled. If you don't learn the color and taste of your own blood, you might not learn anything either about the nail on your little finger, the inside of your elbow, what you turn to when you close your eyes.
Up, and dressed myself; and by coach, with W. Hewer and my wife, to White Hall, where she set us two down; and in the way, our little boy, at Martin, my bookseller’s shop, going to ’light, did fall down; and, had he not been a most nimble boy (I saw how he did it, and was mightily pleased with him for it), he had been run over by the coach. I to visit my Lord Sandwich; and there, while my Lord was dressing himself, did see a young Spaniard, that he hath brought over with him, dance, which he is admired for, as the best dancer in Spain, and indeed he do with mighty mastery; but I do not like his dancing as the English, though my Lord commends it mightily: but I will have him to my house, and show it my wife. Here I met with Mr. Moore, who tells me the state of my Lord’s accounts of his embassy, which I find not so good as I thought: for, though it be passed the King and his Cabal (the Committee for Foreign Affairs as they are called), yet they have cut off from 9000l. full 8000l., and have now sent it to the Lords of the Treasury, who, though the Committee have allowed the rest, yet they are not obliged to abide by it. So that I do fear this account may yet be long ere it be passed — much more, ere that sum be paid: I am sorry for the family, and not a little for what it owes me. So to my wife, took her up at Unthank’s, and in our way home did shew her the tall woman in Holborne, which I have seen before; and I measured her, and she is, without shoes, just six feet five inches high, and they say not above twenty-one years old. Thence home, and there to dinner, and my wife in a wonderful ill humour; and, after dinner, I staid with her alone, being not able to endure this life, and fell to some angry words together; but by and by were mighty good friends, she telling me plain it was still about Jane, whom she cannot believe but I am base with, which I made a matter of mirth at; but at last did call up Jane, and confirm her mistress’s directions for her being gone at Easter, which I find the wench willing to be, but directly prayed that Tom might go with her, which I promised, and was but what I designed; and she being thus spoke with, and gone, my wife and I good friends, and mighty kind, I having promised, and I will perform it, never to give her for the time to come ground of new trouble; and so I to the Office, with a very light heart, and there close at my business all the afternoon.
This day I was told by Mr. Wren, that Captain Cox, Master-Attendant at Deptford, is to be one of us very soon, he and Tippets being to take their turns for Chatham and Portsmouth, which choice I like well enough; and Captain Annesley is to come in his room at Deptford.
This morning also, going to visit Roger Pepys, at the potticary’s in King’s Street, he tells me that Roger is gone to his wife’s, so that they have been married, as he tells me, ever since the middle of last week: it was his design, upon good reasons, to make no noise of it; but I am well enough contented that it is over.
Dispatched a great deal of business at the office, and there pretty late, till finding myself very full of wind, by my eating no dinner to-day, being vexed, I was forced to go home, and there supped W. Batelier with us, and so with great content to bed.
my books fall down
as you dance
which tells me
the state of my affairs
though I do fear
a tall woman without shoes
and alone I cannot believe
my new light heart
my mouth like a pot
the noise of the wind
Erasure poem derived from The Diary of Samuel Pepys, Monday 8 February 1669.
(Lord’s day). My wife mighty peevish in the morning about my lying unquietly a-nights, and she will have it that it is a late practice, from my evil thoughts in my dreams, and I do often find that in my dreams she doth lay her hand on my cockerel to observe what she can. And mightily she is troubled about it; but all blew over, and I up, and to church, and so home to dinner, where she in a worse fit, which lasted all the afternoon, and shut herself up, in her closet, and I mightily grieved and vexed, and could not get her to tell me what ayled her, or to let me into her closet, but at last she did, where I found her crying on the ground, and I could not please her; but I did at last find that she did plainly expound it to me. It was, that she did believe me false to her with Jane, and did rip up three or four silly circumstances of her not rising till I come out of my chamber, and her letting me thereby see her dressing herself; and that I must needs go into her chamber and was naught with her; which was so silly, and so far from truth, that I could not be troubled at it, though I could not wonder at her being troubled, if she had these thoughts, and therefore she would lie from me, and caused sheets to be put on in the blue room, and would have Jane to lie with her lest I should come to her. At last, I did give her such satisfaction, that we were mighty good friends, and went to bed betimes where yo did hazer very well con her, and did this night by chance poner my digito en her thing, which did do her much pleasure; but I pray God that ella doth not think that yo did know before — or get a trick of liking it. So para sleep.
I dream dreams
as close as the ground
letting me see that I am
and therefore would lie
in the blue room
would lie as a faction
and pray for sleep
Erasure poem derived from The Diary of Samuel Pepys, Sunday 7 February 1669.
Up, and to the office, where all the morning, and thence after dinner to the King’s playhouse, and there, — in an upper box, where come in Colonel Poynton and Doll Stacey, who is very fine, and, by her wedding-ring, I suppose he hath married her at last, — did see “The Moor of Venice:” but ill acted in most parts; Mohun, which did a little surprise me, not acting Iago’s part by much so well as Clun used to do; nor another Hart’s, which was Cassio’s; nor, indeed, Burt doing the Moor’s so well as I once thought he did. Thence home, and just at Holborn Conduit the bolt broke, that holds the fore-wheels to the perch, and so the horses went away with them, and left the coachman and us; but being near our coachmaker’s, and we staying in a little ironmonger’s shop, we were presently supplied with another, and so home, and there to my letters at the office, and so to supper and to bed.
king in a box
to surprise us
as once he did
bolt wheels to a horse
went away and left us
our little iron lie
Erasure poem derived from The Diary of Samuel Pepys, Saturday 6 February 1669.
What we have doesn't seem straightforward, ordinary, or plain. This is not to say what we wanted was nothing more, nothing less than what we imagined everyone else had. What's in the blood, anyway, that predisposes one to pine or linden instead of oak, dried laurel and yerba buena instead of iodized salt. Why does anyone have two or more sets of anything: flatware, children, names; and why does it seem to take at least two lifetimes to start getting some things right. I still don't know how many little spoons besides the big one on linen cloth, how many forks and where they go next to the knife. Just when we think we've gotten the hang of being attached to, the strings loosen their taut hold against the board and we try to key everything in again.
Up betimes, by coach to Sir W. Coventry’s, and with him by coach to White Hall, and there walked in the garden talking of several things, and by my visit to keep fresh my interest in him; and there he tells me how it hath been talked that he was to go one of the Commissioners to Ireland, which he was resolved never to do, unless directly commanded; for he told me that for to go thither, while the Chief Secretary of State was his professed enemy, was to undo himself; and, therefore, it were better for him to venture being unhappy here, than to go further off, to be undone by some obscure instructions, or whatever other way of mischief his enemies should cut out for him. He mighty kind to me, and so parted, and thence home, calling in two or three places — among others, Dancre’s, where I find him beginning of a piece for me, of Greenwich, which will please me well, and so home to dinner, and very busy all the afternoon, and so at night home to supper, and to bed.
I walk to keep fresh
my interest in the unself
to some obscure place
where I find a piece
of green and busy night
Erasure poem derived from The Diary of Samuel Pepys, Friday 5 February 1669.
Up, and at the office all the morning. At noon home with my people to dinner, and then after dinner comes Mr. Spong to see me, and brings me my Parallelogram, in better order than before, and two or three draughts of the port of Brest, to my great content, and I did call Mr. Gibson to take notice of it, who is very much pleased therewith; and it seems this Parallelogram is not, as Mr. Sheres would, the other day, have persuaded me, the same as a Protractor, which do so much the more make me value it, but of itself it is a most usefull instrument. Thence out with my wife and him, and carried him to an instrument-maker’s shop in Chancery Lane, that was once a ’Prentice of Greatorex’s, but the master was not within, and there he shewed me a Parallelogram in brass, which I like so well that I will buy, and therefore bid it be made clean and fit for me. And so to my cozen Turner’s, and there just spoke with The., the mother not being at home; and so to the New Exchange, and thence home to my letters; and so home to supper and to bed. This morning I made a slip from the Office to White Hall, expecting Povy’s business at a Committee of Tangier, at which I would be, but it did not meet, and so I presently back.
to my parallel day
the same as I do
with my instrument
like a mad committee
Erasure poem derived from The Diary of Samuel Pepys, Thursday 4 February 1669.
A prop, holding the window open. Warm currents underline a lingering cold. In the space formed by the south-facing wall and one side of the HVAC unit, two bullet- headed bulbs push their green arsenal through winter's vault. Inside my head, I've worn out the carpet in a musty corridor.
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. You can also browse the blog digest archive or subscribe to its RSS feed in your favorite feed reader. This week: night cities, dreams and apparitions, wake-up routines, books of nothing, alter egos, the future of lit mags, orgies and book proofs, and much more. Enjoy.
Night settles over the park, shadows have rolled themselves up;
the sky, a flat translucence behind cut-out branches
casts a blue light on the snow.
In the hedge, little lights glow like forgotten fireflies,
the sparrow-flock has flown, a leaping squirrel
leaves sculpted waves of white along the rail.
Now, only furtive shapes move on the white path:Beth Adams, Winter Night
runner, skier, the eager dog
pulling his master further into the black trees.
Amidst hardly blogging at all last autumn (can you do something amidst not doing something?), I sadly neglected to apprise my more-faithful-than-I-deserve blog readers of a new poem publication.Clarissa Aykroyd, New(ish) poem in The Crank: Return to the Night City
My poem ‘Return to the Night City’ appeared late last year in The Crank, a new-ish online poetry journal edited by Humphrey Astley. This journal is trend-minimal (or words to that effect), and thus inclines more to formal or formal-adjacent poetry than my work often does, although I do think my poetry likes nodding to form.
You can download the PDF of issue 4, where my poem appears, here: https://www.thecrankmag.com/issue-4
The past issues are very much worth reading, and I think another is on its way soon.
‘Return to the Night City’ was specifically inspired by WS Graham’s ‘The Night City’, one of my favourite poems about London. My tribute came partly from reading ‘The Night City’ and thinking of all the associations, particularly literary, that I have with this city. It also came from a slightly stupid incident a few years ago when I flew back so late from somewhere in Europe (Portugal, maybe?) that I could only get a train to Blackfriars, and I then started hiking along the Thames with my suitcase at about 2 in the morning. I came to my senses after about fifteen minutes and got a cab, but this poem is sort of the magical realism version of that incident. Tonally, I tried to approach the original Graham poem, without turning my own poem into pastiche.
We are unable to accept
We are on fire and possibly
infected. The Poetry Editorial Board responded
strongly, admiring your craft and total rage
but disagreed about how to extinguish
fire or end infection.
Eat the rich.
They’re not infected. The poems struck
like bowling balls in a flu
knocking readers down.Gary Barwin, THANK YOU, a poem based on a rejection letter from a literary journal
We coughed. Our flesh burned.
Sometime near Christmas, it might even have been Christmas day, a black pheasant appeared in the woods and tree-lined lanes round the village. I say it was black, but in actual fact it was the most lustrous dark green/black, an oily, moss black. I was out walking the dog when it appeared from the grounds of the manor house: elegant, watchful, picking and placing its feet among the beech leaves, moving forward in that slightly hunched-shouldered way. It had with it a brown, bog standard pheasant and they were moving through the murky, rainy dusk of winter without knowing how beautiful they were.
It felt like some kind of ornithomancy, I kept reading into its appearance a dark mark. But it was/is so beautiful, I was always pleased to see it. I kept seeing it around the village when I was out and about, sometimes with its friend, sometimes on its own. I saw it after a flurry of snow had set once, it seemed to grow more elegant against the white. I wanted to write a poem about it, tried to write a poem about it and have been trying ever since. Nothing seems to quite do it justice, it slips from me, slips away from the poem and ends up being some Christmas card depiction of a pheasant. I can’t quite seem to find the way into the poem, the direction of it, the purpose of it. There have been some great poems written about pheasants, perhaps I should stop making myself feel bad about my own by reading them, but when I come across poems like this one by Graham Mort, on the Poetry Society website, it makes me want to read every poem ever written, and strive to create something better. Here it is on the PS website: Cock Pheasant. […]
I have been trying to write poems since January, not just poems about pheasants, but poems specifically for a new collection to be published by Smith-Doorstop. I’ve struggled a bit to push through imposter syndrome and also to remember how to write a poem. I heard this week that the collection has been put back a little, as have many other collections. I think the pandemic has had a big effect on the publishing industry and I do think the canaries are always the smaller, indie publishers. I thought I’d be disappointed, but all of a sudden, with the pressure off, knowing I have more time, I started writing more poems; in fact I started writing better poems and started to see how to edit and adapt the poems already written, how to push the boundaries in them. This week I finished the first draft of a sonnet crown I’d been working on since December, and whilst it needs fettling, needs the judders tuning and the angles sanding, I’m pleased with it. I’ve ended up writing about twenty sonnets in all, but my aim was seven, and I can see that the other thirteen sonnets are the tools I’ve been using to dig down to these seven sonnets, this sonnet crown.Wendy Pratt, The Black Pheasant
Waking from a dream that was both strong and strangeJames Lee Jobe, Reaching for heaven, or a book.
I quietly slip outside to the patio. The house is dark and cold,
and the patio is wet from an earlier rain, although the sky
has now cleared. Lifting my arms, I reach for heaven like one
might reach up for a book on a high shelf. Can I see the title
of the book? No, I can’t, not from here. But I reach for it anyway.
The hazel’s buds are about to open, first yellow of the season; red-winged blackbirds have returned; this morning, several flocks of snow geese in Vs high above me. Then, a brief but crazy-wild snow squall. Yes, it is February.
What I find myself assessing lately is “the need to publish” thing. I feel a reckoning coming on, personally, in which societal changes are implicated–and my age, as well.
Let me backtrack.
When I first started writing poetry seriously (reading, studying, crafting, workshopping), publishing was a paper-only endeavor that involved typing and retyping poems, sending them with SASE (self-addressed, stamped envelope) to various literary magazines and journals both Major and minor, and waiting for up to a year for rejection or acceptance. The acceptances were necessary if I wanted a book publisher to take my work seriously, or to have an academic institution consider me as worthy of hire, or to apply for higher-stakes literary grants and opportunities. The game, as it were, operated on those hierarchies: journal publications, chapbooks, solo collections, college stints.
I did a bit of that, though not enough, I suppose. I got my chapbooks and solo collections (see books here) and a fair number of poems in actual (and, now, virtual) print. But ambition ain’t exactly my middle name; my college work has not been tenured and doesn’t fall under the creative writing category–I run the writing center at my university, where it’s all about grammar, spelling, documentation, essay structure. I enjoy the work, but it is not poetry.
Back to poetry publication: the new assessment is about whether I care anymore.Ann E. Michael, That need to publish? –eh…
books of nothing
a chained library
not an invitation
huge dead thistlesAma Bolton, ABCD February 2022
where blue butterflies breed
a flat-pack beetle
Here’s a thing. I’ve just checked, and found that since early November last year I’ve written only two appreciations/reviews of other people’s poetry.
How on earth did I end up like this?After all, I started the great fogginzo’s cobweb precisely to share and celebrate work I’d just come across and couldn’t wait to tell you about. Part of the answer to this is obvious..like many others I’ve been locked out of the everyday world of trips and visits and chance encounters. And in this context, particularly I’ve not been able to go on retreats or to readings or to open mics for over two years. I’ve not been well for most those two years, and I’ve not heard new poems being performed. I’ve not bought books at a reading because of the poems I heard, and brought them home, and reread them, and got to know them as friends .
Let’s throw into the mix that, apart from missing the frisson, the buzz of company and of new experiences, I’ve been putting a collection together and trying to lay some nagging half-written poems to rest. I’ve been turned inwards. It might work for some, but it’s never worked for me, because, for me, poetry is performative, feeding on the to and fro of people’s reaction. For months now I’ve not been able to hear the poem on the page; its meaning drifts away in a jumble of words.
I thought it was all coming back when I wrote about Kim Moore and Carola Luther, but then I lost track of it again. You’ll be familiar with the idea of Writer’s Block. I never imagined that there could be such a thing as Reader’s Block, and it’s truly alarming to be in the middle of it.
Anyway. Maybe it’s something to do with the early onset of spring, the urgency in the air and at the tips and edges of things, but the buzz and excitement is coming back, bit by bit. I’m reading poems aloud to myself again, relishing the texture and brush of another mind. The words are coming alive off the page for the first time in ages and ages. I found myself absorbed in other folk’s poems, and hearing them rather than just looking, nose pressed to the window. Loved re-reading Samantha Wynne-Rydderch’s Banjo. Ditto MacCaig favourites, and David Constantine……never thought it would come back, that music.John Foggin, My kind of poetry: Jean Atkin’s “The bicycles of ice and salt”
My kind is doomedDale Favier, A Northern Bank
but since when was I a partisan of men?
My country is ruined
but since when was I a patriot?
are elsewhere. To the violet
swell of the sky against the east:
to the long pull of words
muttered by soldiers going
to pile their bones by the lake.
I have Du Fu for company,
and Ovidius Naso;
you could travel further
and do worse.
Dizzy this morning. Waking again in a shirt so damp it borders on wet. Oh, these growing pains. I remember when growing pains were the deep throbs behind a breast bud, an ache in the femur that felt like the sharp edge of cold.
Now there is the ache in the femur that is the sharp edge of cold, a deep throb likely a straining bubble of panic. A night sweat: a who-knows-what. Don’t google it.
I remember when taking a nap meant crying. And here we are again.
Since I have stopped worrying about the truth of the details and focused on letting the memories surface as they will (still half-submerged, like the Loch Ness monster, more suggestion than shape), my sleep has been crowded with sensual details. Mostly from the desert.
Cinder block, a metal slide at noon, a scraped and weeping knee – the wound full of sand. Dry heat filling the lungs. My lungs. My knee. My fingers running over the porous, snagging surface of the cinder block wall.Ren Powell, Opening Letters to the World
Since I live in a bat cave, only to emerge for work, the gym, and a weekly grocery run, until recently I was blissfully unaware of the “That Girl” YouTube trend. I came across it while I was perusing videos by Abby Sharp, a common-sense dietitian who I watch now and then. Abby was very fired up about the proliferation of “That Girl” videos, which I have come to learn are self-improvement videos, usually made by models, minor internet stars or fitness gurus, detailing their uber-healthy morning routines. From what I’ve seen from my relatively shallow dive into these videos, these routines invariably involve a “gratitude journal,” a green drink, fruit, a workout, and a skincare regimen. The idea is that these routines will lead to a healthier physical and mental mindset, improve your productivity, and allow you to be “the best version of yourself.” The problem is that they are laughably unrealistic for the average person, which is why Abby took umbrage with the whole thing while reviewing a “That Girl” video by someone named Vanessa Tiiu. I have no idea who Vanessa Tiiu is, but she certainly seems to have some leisure time on her hands. Her morning routine is lovely. She gets up early, spends about fifteen minutes rubbing various products onto her face, drinks a big glass of lemon water, and then writes in not one, but two journals, followed by a breakfast of some sort of oatmeal-looking thing topped with berries, and the inevitable green drink. She follows all of that with a full workout and a long walk, all while encouraging her viewers to do the same. Personally, I think how out of touch Vanessa is with the average working person is hilarious, but Abby is a bit of a perfectionist and I could tell it got under her skin and made her feel inferior. It didn’t make me feel inferior in the least. I found the whole thing quite inspiring, in fact. I shall now present, for your edification, my own “That Girl” routine. Feel free to take from it whatever works for you:
Switch alarm off at 5:45 a.m. and cover head with blanket, trying to stave off creeping existential despair. Fall vaguely back asleep until jerked awake by the terror of having possibly overslept. Check clock and groan. Throw off blanket and head to the bathroom for morning pee. Vacillate on whether or not to weigh self, scrutinize body in contact-lens-less eyes, and decide against it. Stumble to kitchen for cup of coffee and head to computer room to look at news. Give up in horror after about three minutes and switch on video game instead. Play video game for too long in attempt to tame cows so I can trade milk to the local tinker for weapons upgrade. Reluctantly switch off video game and go to living room to get dressed. Hate what I picked out the night before and creep into bedroom (if Mr. Typist is still sleeping) to get new clothes. Pick out another wrong thing in the dark and decide to just give up and go with original wrong thing. Suck down another cup of coffee while getting dressed and debating whether or not to do morning ab exercises. Ultimately negotiate with self to do them at work on my lunch break knowing full well I likely won’t do them at work on my lunch break. Decidedly skip the gratitude journal, as it dulls my anger and I need my anger for fuel. Mindlessly wolf down a few breakfast pickles while deciding whether or not to make my typical fried egg over tuna or just get something quick from the case at work. (This one is 50-50.) Head back to the bathroom to brush teeth and slather on makeup while feeling vaguely resentful about the professional necessity of slathering on makeup. Do final face check and decide it will have to do. Suck down one more hasty cup of coffee before popping an Altoid (coffee breath) and shambling into coat. Grab purse, adjust headphones, fire up a podcast so I don’t have to be alone with my thoughts, and head out the door.
I don’t detail all of this to make you feel inferior. After all, as Abby points out, we must all do what is best for us personally and not compare ourselves to others. I’m just telling you what makes me my best self, that’s all. It has taken years of practice to cultivate this routine, and you shouldn’t feel bad if you can’t achieve those heights right out of the gate. Start small and build up! Before you know it, you too will be That Girl.Kristen McHenry, I’m That Girl!
I am thrilled to have had my poem “Birthday Fires” chosen as the winner of the 2022 Neahkahnie Mountain Poetry Prize. This is an annual contest held by the Hoffman Center for the Arts in Manzanita, Oregon, with this year’s judge being Lana Hechtman Ayers.
This poem began after I read the line in a poem from Henri Cole: “I came from a place with a hole in it”. As poems are wont to do, it found its own story to tell, its own feelings to express.
Having learned to read and write at Garibaldi Grade School, I am thrilled my words have returned full circle to this part of the Northern Oregon Coast. I have fond memories of living at the Coast Guard Station in Garibaldi, learning to swim at the Nehalem pool, and having the ability to roam this small town with the freedom of an earlier era.
You can check out my poem and the 2nd and 3rd place winners here: Hoffman Center for the Arts.Carey Taylor, Neahkahnie Mountain Poetry Prize
I’m re-reading Kim Addonizio’s Bukowski in a Sundress. I needed something refreshing and grounding, and her straight shooting memoir came to mind. Her honesty about the messiness of life helps me accept my own missteps and shenanigans and work with them from a writing standpoint. Plus, I’m a sucker for feisty little nuggets of writing advice, like this:
“Have an uncomfortable mind; be strange. Be disturbed: by what is happening on the planet, and to it; by the cruelty, and stupidity humanity is capable of; by the unbearable beauty of certain music, and the mysteries and failures of love, and the brief, confusing, exhilarating hour of your own life.”
The ending there — “brief, confusing, exhilarating hour” — brings to mind Mary Oliver’s line about your one wild and precious life, but that’s not the part that grabs me. It’s the opening: “Have an uncomfortable mind. Be strange.” That’s a sweet spot for me (and for many others). I do my best work when I’m agitated in some way.
It’s perfect timing to be reminded of the generative power of disturbance. After growing my hair long during the pandemic, I’m now trying to rediscover the spit and vinegar of my signature short, short, short red ‘do and to tap into the spunky, edgy version of myself I used to rely upon so heavily. I’ve grown weary of feeling so “meh.”
I’m also pushing a bit harder on my Gertie poem project. I wrote some about it here, but the gist is that Gertie is a persona (an alter ego, I suppose) to whom I turn for protection and comfort. It’s a true story. I started talking to Gertie in my head while taking walks at the start of pandemic. Then she found her way into my poems. I was delighted by her presence on the page and also a bit spooked. I’m less likely to reveal my uncomfortable, strange mind now than I used to be. I am not sure why and hope it’s not a long affliction because I can see it holding me back.
Since Gertie is a direct representation of that discomfort and weirdness, I fall sometimes into the old bear trap of doubt: Is this silly? Will I seem ridiculous? Does this voice have anything important to say? Is it of value to anyone but me? Is this thing even going to work? Those questions are fine to ask once the poems are written, but they’re deadly as the drafts are trying to be birthed. I’m grateful for writing pals (Jill, Sarah and the Madwomen) and for amazing examples by other writers I admire, like Addonizio. Their words shake me by my shoulders and send me back in to do the work.Carolee Bennett, “an uncomfortable mind”
Somewhere, a vein.
Little tributary encircling
a lower region. A calf,
perhaps. No, lower:
an ankle. Who dipped
their foot in the same
river twice, three times,Luisa A. Igloria, Diagnostic
uncountable; and emerged
The issue of notes is a thorny one. I recently read a poetry collection containing lots of end-notes which were often more interesting than the actual poems. (I realise that is subjective and what the poet chooses to include and what to omit from the poem is up to them.) Other poems seemed all but nonsensical without the notes; a feeling familiar to me from being in galleries looking at pieces of art whose labels were essential to be able to grasp the significance of the images / constructions. Equally, I’ve read poetry collections where the poems have been crying out for end-notes, as though not to include them constitutes a deliberate withholding of requisite information. Yes, we all have access to search engines and reference books, but it is arguably an act of generosity to the reader to provide notes where they are needed.Matthew Paul, On ‘The Rupert Man’
After the storm
we go out
to survey the damage
reflect on whether
we could have prepared
But some trees will fall.
where we believed
we were safe, protected
Ignore the debris
for as long as possible
the unfairness of it all
or get on with
clearing the groundLynne Rees, Poem ~ Clearing the ground
repair what we can
a little less fearful
of the next gust
when it comes.
now is that a storm moonJim Young, tenby evening after a storm
far away above the restless harbour
is it beguiled by the colours
seduced by the moods of
the houses riding the palette
of the town sloped away
far above the rash of buoys
CNN did an article this week, surprisingly, on the future of literary magazines, particularly smaller mags: Long-standing literary magazines are struggling to stay afloat. Where do they go from here? – CNN Style. They talk about the lit mags going under – even big ones, like The Believer.
In the fifties and sixties, the CIA, among other government agencies, sunk a surprising amount of money into literary magazines like The Paris Review, The Kenyon Review, and many others, in order to fight the cold war, so the speak, in the art world.
For a while, universities seemed willing to foot the bill for literary magazines for the prestige, but now, they’re shutting down MFA programs and their accompanying literary magazines left and right, as unbusiness-y, unprofitable.
So what is the future of lit mags? I joked that maybe it’s in the hands of some of the richest people in the country – the ex-wives of Bill Gates and Jeff Bezos, aka Melinda and MacKenzie. I met MacKenzie once at a writer’s conference, not knowing who she was, assuming she was just another struggling writer. I think she might be open to a solicitation for the right kind of magazine – she’s giving away her fortune at astounding rates, which: good for her. Their husbands were never going to do much for the arts out here, even though they live here in Seattle (and the Eastside). You’d think they’d do more for local culture! But their ex-wives will be big contenders in shaping where Seattle’s non-profit scene is at, and not just that, but the whole country’s non-profit scene.
When I volunteered for several lit mags, I begged them to try to raise subscription numbers, to take adds from local businesses, to hold more creative fundraisers, anything so they weren’t so attached to either a) a university’s funding or b) a single angel investor. How can a literary magazine make a profit, and do we even want to worry about that? My answer is, if you want to keep them around, then yes. Often, lit mags are very expensive compared even to the fanciest “regular” magazines. Younger readers expect to get their content for free – even regular mags are struggling with subscriptions. So we have to give readers a reason to buy the magazine. What would that be? What do you think? Are lit mags doomed? Can someone start throwing awesome parties that might attract billionaires looking to share the wealth with the literary arts? And invite me?Jeannine Hall Gailey, The Future of Lit Mags, Birds and Blooms in February
The Journal has, I’m pleased to say, reached Issue 65 – or 75 if, as it says in the welcome, you include its former life as The Journal of Contemporary Anglo-Scandinavian Poetry. Edited and published by Sam Smith, who somehow keeps up his enthusiasm for the job year upon year, it usually provides me with something unusual, something that takes it out of the ordinary.
This time I was drawn to a four-page piece by Estill Pollock, Night Watch, ostensibly about Rembrandt but as you’d expect about far more than that; and Julie Maclean’s fine How We Love A Dead Scribe, an imaginary podcast interview with Marianne Moore. (For those who don’t know, Moore died in 1972, aged 86.)
It says so much for Sam Smith that he would happily give Pollock four pages of his magazine for this one poem. Most editors would frown and think Pollock unreasonable for submitting such a thing. I like long poems, so I suppose I would be more inclined to take to it than some, but it’s far more than ‘another ekphrastic poem’, many of which I find a bit tiresome. It could be seen as a run-through of Rembrandt’s life, using the famous painting as a hook, but Pollock writes so well it rattles along, full of conversational phrases and vivid images. Sometimes the style is loose but never uneconomical, as in Rembrandt’s apprenticeship:
Rembrandt, eighteen, yawns – drudge Apprentice/ To still-life squibs of pelt and pear, to infill/ Landscapes with distant hills, windmills or/ The lowering skies favoured by the Master for yet/ Another version of Apocalypse, the genre/ And his screw-loose boss both
Long out of fashion
Pollock captures a kitchen-maid perfectly – her root-vegetable features – and Rembrandt as a jobbing young painter picking up commissions where he can – the patrons, their wives/ And butterball daughters. He has fun, too, with the image of Rembrandt up in his studio having some kind of accident: Crashing lath-and-plaster, Saskia shouting up the stairs/ For God’s sake you blockhead you ruined the stew. / Rembrandt, white with dust, coughing. (Saskia, his wife and sometime model.)
It’s this kind of detail that gives the poem its life and vibrancy. Yes, it tells of Rembrandt’s life, and is therefore a biography, which can feel a bit wooden: In 1638, he buys the Breestraat house… but it’s as if even in this Pollock is playing with the subject, with the task he has set himself. By including the incident of the insane 1985 attack on the painting Danae, he takes the poem on to a new level, a consideration of the fragility of what we achieve, if we attempt some kind of art and puts words into, or quotes, the perpetrator: I warned her to atone – she is mine, and mine alone.
There is sadness, inevitably, as Pollock finishes off with Rembrandt’s decline into poverty: For the burial, no tolling bells at Westerkerk, no stone, the pallbearers/All strangers, paid in day-rate ale.
I enjoyed the poem, its images and language, and it set me off in search of an old book of Pollock’s, from 2006, published by Cinnamon Press, called Relic Environments, which is well worth exploring if you can find it. I’ll try to review that soon. He had a book published in the USA recently but I don’t yet have that. It may be easier to find.Bob Mee, THE JOURNAL: ESTILL POLLOCK’S NIGHT WATCH & JULIE MACLEAN’S HOW WE LOVE A DEAD SCRIBE
The latest from Sydney, Australian poet and editor Pam Brown is the pandemic response poems of Stasis Shuffle (St. Lucia, Queensland: Hunter Publishers, 2021), her second book to appear last year, after Endings & Spacings (Sydney Australia: Never-Never Books, 2021) [see my review of such here]. Stasis Shuffle is a book directly responding to the restlessness of uncertainty, health measures and remaining in place. In this way, Stasis Shuffle adds to a growing list of pandemic-response poetry projects, a list that already includes Lillian Nećakov’s il virus (Vancouver BC: Anvil Press, 2021) [see my review of such here] and Lisa Samuels’ Breach (Norwich England: Boiler House Press, 2021) [see my review of such here]. Brown’s poems appear to be composed in the quick-sketch form of the poetic journal, attempting to capture, through the long form of the book-length poem, a particular period of time from her home in Sydney; composed in an accretion of short lines, phrases and quick turns, in a kind of perpetual ongoingness, akin to a lengthier structure of what might be called “Creeleyesque,” after the late American poet Robert Creeley. “the / it’s-interesting / bla-bla,” she writes, near the beginning of the collection, “question is – // is your slowly accreting poem / morphing into a larger cloud yet – // a major poem / ghosting in to sydney / past the heads, / making its way to ashfield // darker & darker / birds swirling around in it – / leaves / rubbish & debris / full of menace & meaning?”
She writes of memory and nostalgia, situating herself and her thinking through an assemblage of playful breaths and breaks, collage and accumulation, phrases and visuals. While the poems here offer an ongoingness, they also provide a sense of a gathering of fragments collected over an extended period, something reminiscent of American poet and translator Joshua Beckman’s Animal Days (Seattle WA/New York NY: Wave Books, 2021) [see my review of such here]. Her poems accumulate, offering a portrait of a space, of a time; and a texture across a singular lyric.rob mclennan, Pam Brown, Stasis Shuffle
An intriguing idea: take a collection of postcards and the messages written on them and publish with the message alongside the front of the postcard. The full name and address of the recipient is excluded so readers have to focus on the messages for clues. The reader is drawn in by questioning why the sender picked that particular card, why they chose to focus on those particular details – in a brief message there’s no space for small talk and pleasantries – and what the relationship might be between sender and recipient. One of the first is a seaside postcard with five images from the English costal town of Newquay, three of the images show small yachts in the harbour, one shows holiday-makers sitting on the quay wall and the last shows the beach with the town in the background, the message,
“One night, a cat bit Dan and Raz on the thigh. They were fined for biting the cat back. If anything, it is too peaceful here. One feels that there is something wrong. Perhaps there is.”Emma Lee, “Life Here is Full of Tomorrows” Mélisande Fitzsimons (Leafe Press) – book review
Just like last night,Tom Montag, THREE OLD MONK POEMS (135)
the stars and their stories,
the old monk said.
I know, we’re in the second month of 2022 and I’m only now talking about the journals I filled in 2021? Yes, I am woefully behind the curve and I have no excuse other than *waves hands wildly about* life.
In 2020 I filled six full journals and started on a seventh before the calendar flipped into 2021. In 2021, I continued and filled six journals with poems. As you can see, I tend to prefer a slim Moleskin with a blank cover I can then cover with stickers — because who doesn’t love stickers?! My sister sent me the unicorn/mermaid journal while I was recovering from meniscus repair surgery and so of course I filled it with poems.
Now, two weeks into February and I’m pages away from filling my first journal of the year (that last one in the photo, on the bottom right). Which is good because I just ordered a bunch of new stickers from Redbubble and I need to put them somewhere.
I’ve started a poetry exchange with a friend – she writes a poem and then I respond to her poem with one of my own. Back and forth we go, using one another’s words to prompt more poems. It’s a wonderful exercise, it keeps me motivated, it gives me inspiration, and it allows me to fill my journal. It’s a pretty great thing.Courtney LeBlanc, Journals of 2021
–It is delightful to have time to cook, especially on days that would have been heavy with meetings if I was still employed at the full-time job. Last week, I made lemon muffins. This week I’ll take the pumpkin butter that I made and experiment with turning it into pumpkin bread. My pumpkin butter recipe is essentially cans of pumpkin, spices, and sugar. Next week, I’ll try turning pumpkin butter into a ricotta cake.
–My pumpkin butter recipe makes WAY too much for one household, and I make it so seldom, that I always forget.
–I am delighting in lunch dates with friends. It’s good to reconnect with people, while at the same time sad to realize how unconnected I had become.
–I do like having time to walk, although there are days when I feel like Dorothy Wordsworth. Of course, a life of long walks, cooking, and journaling about it all does not seem like a bad deal to me.
–I am reminded of a friend who was reading a biography of Wordsworth and came away convinced that British citizens in England had gobs more time in the early 19th century regardless of social status, She may be right.Kristin Berkey-Abbott, Bits and Pieces from the First Thirteen Days of Underemployment
“You’re home from the hospital,” we promptRachel Barenblat, Through
our father, back in assisted living.
“No I’m not,” he insists. “This isn’t home.”
I wonder which house he’s remembering.
He thinks he’s somewhere temporary.
In the end, does the body feel
as extraneous as the oxygen tank
he keeps forgetting he’s tethered to?
But there’s country music at happy hour
and he tells himself stories
that turn his nurses into old friends.
He knows he’s somewhere temporary.
A mezuzah gleams on the final door.
We don’t know when he’ll go through.
Today, a snow storm and the really amazing realization that I do not have to go out into it unless I want to (and I certainly do not.) Instead, I stayed tucked inside with a writing assignment on Slavic Mythology I was finishing up. On the subject of further proof that Christian missionaries ruin all the fun, I had a hard time, since I know the lesson content is written with high school kids in mind, trying to convey that some celebrations involved orgies, without actually using the word, ya know, “orgies. ” I settled on “fertility rites” but it loses something in the translation. The myth and fairy tale content is a nice break sometimes from the lit, esp since yesterday involved an in-deep piece on confessional poetry, and earlier in the week, the rabbit holes of Lillian Hellman and her testimony in front of the House Committee of Un-American Activities (something easily I could have spent many more hours reading about but had to stop before I went too deep into 1950’s nonsense and the evil figure of Walt Disney.)
A couple days ago, my proof copy of animal, vegetable. monster arrived, and there is the usual adjustments on the interior, but am very happy with the cover. I should be able to get the whole shebang finalized in early March, which pushes back the release a bit later than I intended, but April is my birthday month, so it seems propitious to bring it out then. In the meantime, I plan to start making some videos, including some for the artist statement pieces that open the book. Also some other promos for reels and such as we get closer. I went with a slightly smaller trim size and am really liking the look, as well as the creme paper instead of the usual white.Kristy Bowen, orgies and book proofs, oh my!
when colors die are they laid to rest :: in a bliss as white as the moonGrant Hackett [no title]
Geraldine Connolly: What central themes haunted you in the writing of Ghost Dogs?
Dion O’Reilly: The mind grappling with a world full of both exquisite beauty and also unimaginable evil pervades Ghost Dogs. We shy away from what we call the cruel facts, but if they can be balanced, almost in the way a painter balances light and dark in chiaroscuro, then the poems come alive with insight. I believe such juxtaposition of supposed opposites ignites the lyric moment, an experience of deep connection with the Living World. So I guess I would say connection haunts the book–how to connect, which I feel is the work of poetry.Diane Lockward, Terrapin Book Interview Series: Geraldine Connolly Interviews Dion O’Reilly
Gerry: The California landscape is very vivid in your work. How does the landscape of your childhood inform the poems?
Dion: I grew up in a beautiful place–the Soquel Valley, on an eighteen acre ranch with two streams running through it. So I write what I know. But I think it’s a mistake to think we are separate from the world around us. A landscape is a self-portrait; a self-portrait contains a world. I would hope if I grew up in Detroit, I would be able to write about it the way Jamaal May does.
Gerry: Can you tell us about your writing process?
Dion: Ghost Dogs contains stories I carried for many years. The difficulty was in seeing the narratives differently. For example, writing about my sister led me to express a new compassion for her. I struggle not to be the heroine of the tale, not to write revenge poems, not to reinforce tired grudges or viewpoints. Gotta say, that’s hard to do, and I don’t know if it’s any easier now than it ever was. Nowadays, I work less from my old narratives and more from prompts, word lists, and form. I think that’s a common evolution for poets. Still, word lists often excavate memories related to those in Ghost Dogs. I think it’s good to allow yourself to be obsessed.
I started this blog in March 2011, during a Fulbright fellowship in Wellington, New Zealand, as an intellectual diary during one of my life’s biggest adventures. My forthcoming book, Poetry’s Possible Worlds, is in many ways this blog’s culmination. I’ve always read to survive my life, and in the blog, then called “The Cave, The Hive,” I chronicled what I was reading and what I thought about it. This book puts reading under a microscope: how do poets create little worlds, and why does it sustain me to dwell in them?
I began conceiving and drafting this hybrid essay collection–criticism blended with personal narrative–in 2012. I had NO IDEA it would take this long to deliver it to the world. I started with questions about audience, wanting to write a book that non-poetry-insiders might enjoy: hence each chapter begins with a contemporary poem reprinted in full, so you can have your own feelings about it before I bring my professorial wonkiness to bear. I dialed the wonkiness way down, for that matter, although I researched the hell out of many intersecting fields: narrative theory, poetry studies, the cognitive science of “literary transportation,” and more. And I got pretty personal. I read these poems as my parents split and the astonishing scope of my father’s lies came to light. He died; my kids grew up; midlife crisis slammed me; my mother got sick. Poetry helped me think through harassment at work, the repercussions of sexual assault during college, and my struggle to accept life in an aging body. It’s all in there, my intellectual, artistic, teacherly, physical, and spiritual selves in collision. I gave the book everything I had.
That emotional work made the book hard to shape, but so did trying to invent a form. The chapters braid story and argument, a mixed art plenty of people practice, but I had to ponder what proportions of each would serve each of my goals best. I have scholarly standards–you need to read every text you can find that bears on your topics!–but then I sublimated that research in service to pace, suspense, and readability. I thought a memoiristic book might be easier than writing straight-up scholarship like Voicing American Poetry, but ha! It was at least as strenuous, just in different ways.Lesley Wheeler, On the threshold of Poetry’s Possible Worlds
To those wearing three-piece suits of demagoguery. Those who deforest landscapes of possibilities.
All the politicians who’ve hollowed out mother nature‘s womb and created a war room.
To those who turn dance floors into killing floors. Those hooked on the apocalypse jukebox, continually tuned into the static of crashtastic demise.
To those who slaughter the bebop of birdsong with the sounds of one bomb drop after another.
Those who bully blue skies to black and blue. Those who separate the light from the dark and then enchain the bright, enslave the bright—
above all your noise and destruction, there is still a wondrous song ringing in our ears.
A song that remains the steady core of our dizzily spinning world.Rich Ferguson, Not a Dear John Letter, But Close
Meaning, sooner or later something catches up to you. Like the virus in any of its latest permutations making the rounds, and how it's caught up with the Queen. The fallout from an agent's double-dealing. Dwindling reserves of scandium and terbium, phosphorus, coal, oil—how many years to zero: 40? 50? 100? And water? But the child is fashioning wire and paper flowers, sticking them into the earth. He believes that eventually, spring will come. That real flowers will reward his patience.