I’m doing one of these a day until the end of April. To send it, copy the permalink or the image file link into an email, tweet, Facebook DM, etc. — or just download and make free with the image.
National Poetry Month Card #2
I’m doing one of these a day until the end of April. To send it, copy the permalink or the image file link into an email, tweet, Facebook DM, etc. — or just download and make free with the image.
National Poetry Month card #1
I’m doing one of these a day until the end of April. To send it, copy the permalink into an email, tweet, Facebook DM, etc. Or just download and make free with the image — I don’t care.
In lieu of new content
One great thing about blogging is that whenever writer’s block strikes — or even writer’s ennui, which is all I think I’m afflicted with at the moment — I can always tinker around under the hood. And since I have more than one blog, that makes for a lot of tinkering! Here’s some of what I’ve been up to lately.
Shadow Cabinet move and redesign
Shadow Cabinet has now followed Spoil off of WordPress.com and onto vianegativa.us. The new address is shadowcabinet.vianegativa.us. I know a few of you link to the collection from your blog sidebars, for which I’m grateful, but please do change the links when you get a chance. For now, I’ve left a page up at the old domain directing people to the new one. Obviously, any links to specific poems, from old blog posts or elsewhere, will no longer work, and I’m afraid you’ll have to visit the site to get the new links, because I’ve changed and simplified the permalink structure. In other words, you can’t just switch the domain part of the URL and expect it to work, because I’ve removed the month-and-day part.
Social media prompts
Ten days after moving onto its new host, Via Negativa continues to enjoy much faster load-times than before, and stats have improved as a result. I’m cautiously introducing a few new plugins, such as Sociable, which generates the icon-links at the foot of each post. I’m trying this instead of the more elegant-looking ShareThis icon, which I’d had before, for two reasons: the code is leaner and thus less of a drag on load-times, and I think having an unobtrusive visual prompt to share content on Twitter, Facebook, and so forth is half the point. I don’t care for clutter, so I’m keeping the list as brief as possible, excluding social bookmarking sites I don’t want traffic from (i.e. Digg) or doubt that my readers use. But if you’re fond of a social media site or bookmarking service I haven’t included, please let me know and I’ll put it in.
New commenting system
I’ve changed the template here to include the new comments functions that came with the most recent major version of WordPress (2.7): comment threading, and javascript-ennabled comment forms that update the comments thread without reloading the entire page. Comment threading, in layperson’s terms, means that you now have “reply” links below every comment in a thread. I currently have it set so comments will nest up to six deep; any more would probably look goofy given the width of the column.
I’ve also switched on avatars, to see if I can get used to having them — it’s doubtful. But if you’re wondering how you can get one to appear beside your own name, here and on other WordPress blogs, you have to register with Gravatar (stands for Globally recognized avatar) and remember to put the same email in the comment form each time.
By the way, if you, like me, are on an independently hosted WordPress installation (i.e. using WordPress.org) with a theme that hasn’t yet been updated for 2.7, I found the following tutorials invaluable:
- The WordPress Codex article
- A tutorial at ottodestruct.com
- Chris Harrison’s Style Starter #1 and associated posts
Basically, I added the necessary line of javascript to header.php, replaced my comments.php file with the one for the default theme, then modified the sections of my stylesheet relating to the comments and comment form, borrowing both from the default theme and from Chris Harrison’s example. Of course, it helped that my theme happens to use similar CSS classes to the default theme.
Postal Poetry has turned into a static site
Submissions to Postal Poetry have really dropped off in the last couple of months, and it became obvious to Dana and me that we’d either have to become permanent cheerleaders and devote an increasing amount of time to hassling poets for submissions, or stop publishing new work and convert the site into a static gallery of poetry postcards. After much agonizing and discussion, we chose the latter course. At present we’re continuing to use the same theme with a newly widened archive page pushed to the front, but I’ll be keeping an eye out for other free or affordable WordPress themes that may work better. Permalinks to individual postcards won’t change. The present theme, designed with photobloggers in mind, is hard to beat for simplicity and usability, especially now that we’ve added category links below each postcard.
We hope the postcards on the site will continue to inspire Postal Poetry’s visitors and past contributors, and as we say on the About page, we encourage you to keep experimenting with poetry postcards, sending them to your friends, and posting them on your blogs. We’re proud of the work we’ve published there and grateful to everyone who made cards for the site, whether or not we ended up publishing them. It’s been fun.
Other news
I’m continuing to discover great new video poems, mostly on YouTube, for my Moving Poems site. I’m currently feeding it at the rate of a new post every weekday, though I expect that will slow eventually. I’m trying to avoid posting things that could be subject to take-down from YouTube for copyright infringement, because I don’t fancy having empty archives, so there are some slick documentaries that won’t make it in.
Open Micro, the group blog for micropoetry, continues to chug along with a new post or two roughly every day, and some lively discussions in the comment threads. If you haven’t jumped on the Twitter bandwagon yet, and are wondering if there’s any truth to the critiques of Twitter and similar sites as irredeemably shallow outlets for the attention-challenged, I’d encourage you to check out some of Open Micro’s contributors (linked in the foooter). Many of us see the 140-character limit of microblogging as ideal for haiku and other short poetic forms, and haiku is all about paying attention. Or as the editor of Cordite Poetry Review‘s new Haikunaut issue, Issa translator David G. Lanuoe, puts it:
Haiku is a posture, a way of seeing and being, a philosophy of life in which one dedicates one’s self to noticing, not ignoring; to being open, not closed; to discovering, not defining; to inviting meaning onto a page, never imposing it. Poets of haiku peer expectantly into the moments and moods of this universe of which we are part, ready always to be startled, to receive with open eyes the treasures and enigmas that others miss in their hell-bent rush through traffic and life.
That sounds like excellent advice for anyone afflicted with writer’s ennui, as well — blog tinkering be damned.
The Conversation
A new poem-like thing gave me an excuse to use some video I’ve been hoarding.
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Don’t forget to bookmark or subscribe to the feed for Moving Poems, where I’m posting other people’s videoetry at the rate of five a week, skipping the weekends. I’m having a blast hunting down poetry videos on the web (95% of it on YouTube, of course), and it looks as if it’ll be many months before I run out of material. Upcoming posts include poems by Paul Celan, Nazim Hikmet, Martin Espada, and Gabriela Mistral.
By the way, if anyone has an interest in helping out, I could definitely use help in finding and translating video poems in languages other than English and Spanish (and sometimes I need help in Spanish, too, but I don’t tend to let that stop me). You would of course get full credit and link-love.
A few good chaps
At qarrtsiluni, we’re looking for a few good chaps.
Why a chapbook? Regardless of what you call it, the fact is that a pamphlet-sized collection of poetry can be an astonishingly beautiful thing. It’s not just for emerging poets anymore; a poet at any stage of her career might find she has a collection of work too long for a featured section in a journal and too short for a full-length book. And a chapbook designed to be read in a single sitting offers a nourishing alternative to a magazine or newspaper. With roots in the 16th century, it’s the original sleek and sexy mobile device.
I don’t have nearly as many poetry chapbooks as I’d like, but the photo does give some sense of the variety in their production style: the sewn and the stapled, the offset and the xeroxed, the book-shaped and the pamphlet-shaped. This outer variety suggests something of the variety in their contents, as well. I suppose it might be no greater than the variety one encounters among regular books of poetry, but sometimes I do think chapbook publishers are a bit more tolerant of eccentricity, more willing to take risks with content than they’d be if they were publishing a full-length book, which after all is a bigger investment. I’ve found some of the most satisfying short collections of poetry housed in really cheap, copy-shop editions — such as Howie Good’s latest collection of prose poems, Tomorrowland, which has just been very well reviewed at One Night Stanzas. And if your taste runs to sonnets, you can’t do better than Water Signs, Katherine Durham Oldmixon’s thematically unified gathering of three sonnet chains, where the last line of one sonnet forms the first line of the next. This, by contrast, is a beautiful production (aside from a flubbed table of contents) from Finishing Line Press, which specializes in books of poetry up to 26 pages in length.
For qarrtsiluni‘s inaugural poetry chapbook, we’re hoping to marry good design — courtesy of Beth, who’s worked in design for three decades — with great content, courtesy of all y’all. Or some of y’all, at any rate. Everyone who enters the contest gets a copy of the winning chapbook, so if you have a shortish cycle of poems lying around waiting to be spruced up for publication, it should be worth your while. Here are the guidelines.
Buzz
The furnace stops and I hear the refrigerator. The refrigerator cycles off and I hear the computer. I power down the computer, turn off the lights, and now I hear nothing but the buzz in my head…
This evening’s buzz was all about the Obamas. I didn’t watch. I was busy making something new: a blogsite devoted to videoetry called Moving Poems. Nothing fancy — just a place to put my growing collection of cool poetry videos from YouTube and other video-sharing sites, with minimal commentary. The very first video I posted was a clay-on-glass animation of the Emily Dickinson poem that begins,
I heard a Fly buzz – when I died –
The Stillness in the Room
Was like the Stillness in the Air –
Between the Heaves of Storm –
It’s only my 43rd birthday, though. I’m not dead yet! Not as long as I still hear that buzz…
Psalm for the Rapture: the movie
I’ve just been reminded that it’s Oscars night. I was very pleased to discover this afternoon that the Internet Archive has a movies and film section, which includes some classic films (I just re-watched my all-time favorite comedy, His Girl Friday) and a lot of Creative Commons-licensed stock footage. I lost no time downloading some of the latter to illustrate an old poem — which I see I illustrated with snapshots the first time around. (For a straight-text version, see here.)
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Brent Goodman has just dipped a toe into the videoetry waters as well. Check out Meat to Carry Our Minds.
AWP
The high priests of poetry glitter like silver toothpicks. Don’t think about where they’ve been: the closets, the lavatories, the confessionals. Don’t mistake their laughter for genuine mirth. I remember our free-range chickens, that so-called flock of birds too fat to fly, how the roosters crowed at awkward hours and how every morning the hens would announce their new-laid miracles to the world in keening monotones, the first one sparking the others like a parking lot after a minor earthquake — all the car alarms going off at once. I remember how brutally they enforced the pecking order. Some winter mornings we’d find half a hen in the hay; bug season couldn’t come quickly enough. To be fair, though, their cruel stupidity was inbred, and may have been triggered by paranoia: almost every week two more members of the flock went missing from the shit-caked roosts, until spring when a new crop of chicks appeared in the rat-proof pen in the middle of the coop. Broody hens and second-rank roosters heard that EEP EEP EEP EEP and got excited. They’d wander up to the pen, tilt their heads as if taking confession, and go AWWWWP.
Haiku in English: art, exercise, or oxymoron?
Don’t you just hate it when a blogger writes a provocative title for a post that turns out to be little more than a link? Me too — sorry! But there’s kind of an interesting discussion going on at Open Micro, and I think it would be helpful to those of us who try and write haiku (or 17-syllable American sentences, for that matter) if we could hear from a few more perspectives. If you’re primarily a reader, for example, what makes a haiku satisfying to read? Do you even notice how many syllables it has? Stop on over and let us know.