Poetry Blog Digest 2022, Week 46

Poetry Blogging Network

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 (late) edition continues the sombre tone from last week, albeit with some joyful news as well. The season of death is upon us. But late autumn and winter is also a time for deeper thinking, and we have some of that as well.

Note that I will continue to share links to these posts on Twitter for as long as a significant portion of us still maintain accounts there, but in general, like many folks, I’m using the opportunity to move most of my microblogging over to the Fediverse, which as an open-source project was always a much better fit with my values. I hope you’ll join me there. (I’m on a medium-sized Mastodon server, here.)


Oh bathroom window, what are those ash-gray clouds,
needle in the morning’s eye —

dawn too early in its strange light-threading.
To 6am, I bring another party: 

my thoughts, light and frisky in dark crevices […]

Jill Pearlman, The Early Bird and other Myths

An interesting week. The tory clowns have come up with a forecast of a £60 billion black hole in the national finances. It’s their latest wheeze to make the poor pay more than the rich. JK Galbraith once said that “economic forecasting is there to make astrology look good.” But this has not stopped them from delivering one punitive budget after another. […]

there is a second
when the mop bucket’s contents
after being slung into the air
seems to just hang ignorant of gravity

in that moment you could mould the water
into any fantastic shape you pleased
if only you were quick enough

Paul Tobin, THE MOLECULES SIGH

As the wind howled, I thought about all the ways I have tried to make my way as a writer in the world:  build a website, develop a presence on various social media sites, try to publish everywhere, try to have a series of readings/presentations, slog, slog, slog.  Because it was the middle of the night, I wondered if I could have done anything differently, even though I know the stats about sales and who is making a living from their writing (not very many people).

And if we’re being honest, in many ways, I’m glad I’m not relying on any of my creative endeavors to pay the bills.  I am astonished at the ways that people hustle to try to sell their work, and I know all the ways that the various hustles would be hard for me.  And statistically, it’s hard these days to sell enough work to pay the bills.  Lots of people out there competing for fewer readers.  I’m glad that I can write what I want to write without worrying about marketability.

Kristin Berkey-Abbott, Winds of Metaphor, Winds of Change

What do you remember about the earth?

I am six and the terrible grandmother has come to live
with us. She smells of tobacco and the green eucalyptus-
mint Valda pastilles she is always popping into her mouth
from a tin hidden in her robe pocket. A game I like to play
with some of the neighborhood kids involves taking turns
putting Necco wafers in each other’s mouths while intoning
“The body of Christ.” We are careful not to bite down
so as not to cause the body of Christ to bleed. Then
we walk around the grassy perimeter of the truck yard
pretending we are floating, until the candy has melted
and our tongues turn lime green, orange, or pink.

Luisa A. Igloria, Six Questions

A commissioned poem is always a leap of faith in the dark. You get a phonecall with a request to write about a particular topic or idea, and you must decide whether you can do it, whether you want to do it, but most importantly, whether you can do it in the time available.

For this commission, and for many commissions for radio, there was a very tight turnaround. I think I got a phonecall on Friday evening from the producer of Woman’s Hour, Clare Walker. She wanted a poem that celebrated the different sounds that women have heard over 100 years. the poem would be two minutes long, but the whole thing would be about eight minutes becuase they were going to weave through the poem lots of archive recordings. “Brilliant!’ I replied – thinking this was a really interesting commission, and an enjoyable one.  I briefly envisaged some peaceful weeks trawling through archive recordings of suffragettes and the sond of the first washing machine.

“There’s just one snag” Clare said. “We’re on a bit of a tight deadline, so it has to be finished and recorded by Wednesday”.  “Ah” I said.  I thought about my looming deadline for a book of hybrid essays (more news to follow on that!) which was due just a few days later.  I thought about the five days I had available to write the poem, and how for at least two of those, I wouldn’t be writing, or in fact even thinking because I have no childcare at the weekend.

“That will be fine!” I replied recklessly. “Let’s do it!”.  What kind of person would turn down a commission from Woman’s Hour, I asked myself, even with a book deadline, and just five days to write it (well really three).

Kim Moore, The Commissioned Poem: A Leap of Faith

Tough, in its various meanings, and tender are the poems in Kathy Fagan’s Bad Hobby. Painful, in parts, as it recalls my own mother’s failings of memory, but funny too, as such things can be, in the right moment, with a good spirit, and with nothing left to lose.

From “Snow Moon & the Dementia Unit”:

Dad called again to see how his daughter Kathy’s doing,
and when I tell him I’m doing fine, he asks,

So you’ve talked to her recently? What did she say?
and really, what could I say then…

Through these poems we glimpse the inner and outer life of the speaker, especially the presence of her parents, real or ghostly. From “Animal Prudence”:

…Even when he was
a young drunk going deaf from target practice,
my father preferred picking his teeth
to brushing them. My mother preferred
crying. They bought or rented places
on streets named Castle, Ring, Greystone—
as if we were heroes in a Celtic epic.

The author is unsparing and unsentimental in her observations. Here she regards her own self through a sight of a hawk and its squirrel prey in “Cooper’s Hawk”:

… My tolerance for ‘Nature, red in tooth
and claw’ rose as my estrogen fell. The wish
to die died with my hormones, and with all that
powering down, I could finally hear myself
not think.

The wry wit, the dry eye, and the imagination that instills these poems made this hard book a pleasure to read.

Marilyn McCabe, Hello goodbye hello; or, On Kathy Fagan’s Bad Hobby

“Naming the Ghost” is a gentle, sensitive journey through bereavement and acceptance. It is not just the loss of the narrator’s father, but also that the newborn daughter will never know her grandfather, which exacerbates the sense of loss. However, the narrator acknowledges that she cannot let her daughter’s sole experience be a grief for someone she did not know. On her journey, she learns to adjust to looking to the future, informed by the past. These are poems that linger and haunt rather than grab the reader.

Emma Lee, “Naming the Ghost” Emily Hockaday (Cornerstone Press) – book review

What I was going to say is that I have reached an age where my peers all seem to be facing cancer. Illnesses like Parkinson’s. Bones that break all too easily. Unexpectedly. Everything hurts. Everyone hurts. And we are still comparing ourselves to one another.

Some of us move through the days thinking: but that won’t happen to me. I’ll be one of the shining septuagenarians on Instagram snatching more than their own bodyweight. Some of us hold on to the moments.

Some of us. Maybe only me. Have given up on narratives and justifications.

Here is my beginner’s mind. I pause in stillness. Then inhale and rise along the gentle slope of a polished pearl. Then exhale into stillness. One rich movement at a time, like gusts of wind slamming the body.

I read once that the ghazal was a series of discrete couplets, connected like pearls on a string.

Ren Powell, Life as a Ghazal

Here is what we do in our church: 
we never gather and we never sing
we blame but never praise
we cultivate indulgence; we wallow in dread;
we pick the scabs of anxiety.
The stupidest Congregation of the Bigot
in Podunkville does better than that.

Dale Favier, Inventing the Wheel

Readers accustomed to Fokkina [McDonnell]’s poems will know that she has a great gift for sudden shifts of thought and emphasis which wrong-foot and surprise the reader. Many years’ practice as a psychotherapist must have informed Fokkina’s acute sensitivity to how the brain and heart interact. Her poems implicitly ask questions but usually stop short of providing answers – as with effective haiku, the reader is invited to do some work, in effect to complete the poems. There’s a lightness or playfulness among the trauma which sporadically surfaces; a sense which I can only really explain fully by using the Japanese haiku concept of karumi, which Michael Dylan Welch explores so well in an essay available here. And where Fokkina does apparently provide answers, the reader has to wonder if they are the answers of an unreliable narrator of sorts.

Matthew Paul, On Fokkina McDonnell’s ‘Safe House’

What are you working on?

After a two-year hiatus in writing (due to parenting a 3yo and 1yo without childcare during the pandemic), I have just begun to write again while my baby naps and my 3yo attends preschool. My question the past few weeks has been what I can effectively work on given time constraints. Before my children were born I was working on a volume of Norse verse translations. The unpredictability of baby naps has made it nearly impossible to return to this. What surprised me was having inspiration for a fantasy novel and actually being able to write chapter drafts. Holding scenes and characters in my mind until I can work on them again has proven easier than holding the intricately-woven webs that are skaldic poems, with all their linguistic and historical threads. 

Thomas Whyte, Emily Osborne : part three

More poets and songbirds. Shopaholics at the mall of mercy.

A Congress that engages in friendly congress.

For the homeless to become homeful. Wildfires to take a chill pill.

Gun muzzles to nuzzle love.

Rich Ferguson, What the world needs now

I’ve noticed in recent years, on social media since that is where I see discussions of poetry, is a criticism of poetry reviews. First the criticisms were about the reviews not being published in mainstream newspapers any more or, if they were, the tiny wordcount afforded to them. Then the criticism shifted to the reviews themselves, their “lack of critical engagement,” that they are “puff pieces”, concerning themselves with the poet and the “poet’s identity” rather than the actual poems, the craft and technique. All of these criticisms are valid, and perhaps the reviews under discussion seem ubiquitous because of the proliferation of online platforms like Goodreads, online journals and blogs, as well as in some poetry magazines. Also, there has been a trend to simply photograph a book or poem and share on social media without also offering any kind of considered review. Perhaps this has also offended people seeking detailed critiques. Unfortunately, in my view, the criticisms risk silencing a group of people who might want to review, or even to express that they like a book or poem, but who now won’t, for fear of being on the end of such criticism. I think it’s far to say that some of the criticisms I’ve observed are from poets who are also academics, used to the rigor of academic principles, and critical of work that strays from from, or seems to disregard, this rigor. I think that’s a shame. The poetry world has room for a rigorous, intellectually challenging approach to appraising and analysing poetry as well as a different kind of response, perhaps personal to the reviewer, regardless of their academic training and experience.

Unfortunately, perhaps because of the nature of social media, particularly Twitter with its limited wordage, these kinds of criticisms can appear aggressive, especially when a lot of people seem to join in. Perhaps one of the good things to come out of the current implosion happening at Twitter will be that this kind of ‘pile on’ will become less prominent in poetry (and other) circles.

Josephine Corcoran, On Reviewing

I read somewhere recently that writing poetry reviews (the traditional kind, for poetry mags) is a good discipline as it makes you really read closely and engage with poetry collections. I have to say that interviewing a poet on a podcast takes all that and then some – thinking up relevant questions to ask, talking with the poet about your reading/understanding of their work, suggesting which poems they read and commenting in a way that listeners may find interesting… it’s not easy, and I often curse myself for sounding like an idiot, a sycophant or a ‘womansplainer’, sometimes all three in the same episode. It’s all  good fun though!

Robin Houghton, Self-sabotage, womansplaining and other poetry joys

Winter is more insidious than summer.
The low-angled sun is a dull blade,
sheathed in bitter grey.

In winter I play old music.
The music my grandparents listened to
as they took me to Friendly’s or to

a clarinet lesson in the next town over.
It’s the music of nostalgia and longing
and emptiness. Winter music.

Jason Crane, POEM: A Winter Poem

I once borrowed her jean jacket so I could look cool, as a group of us made for Montreal for a Peace Concert at the Montreal Forum in 1987. The illustration she made of our pre-concert group in the park, drinking beer and playing guitar with a few dozen others, made its way onto the cover of the zine we invented as part of our high school “writer’s craft” class: assembling poems, stories, drawings. All of it published anonymously, of course. She could fall helpless into fits of giggles, including when dancing at the Carleton Tavern somewhere in the 00s, realizing her friend Joy’s dancing had caused Joy’s pants to fall off, without them noticing. There was an element to our pairing that rendered chaos, a joyous silliness that not everyone else had patience for, akin to six-year-old twins: each encouraging the other.

I published some of her poems in the first issue of my long poem magazine, STANZAS, in 1993, and in a chapbook, not that much later. She’d been working on a poetry manuscript she’d titled “Naked,” some of which sits in a file on my computer. The poems from STANZAS, her “Garden” series, that later fell into her novel, The Desmond Road Book of the Dead (Chaudiere Books, 2006). As the first of the series, “Garden,” reads:

I can make the garden grow, the sun fall up and down in the sky, a man full grown from passion in my tissue, in secret places I hide my fat and wait for rain for rain for rain

In August 2019, the last time I saw them, not long before Covid: an afternoon visiting Clare and Bryan on their farm in North Glengarry, a few miles east of the McLennan homestead, as my young ladies admired their two horses, and later accidentally stomped on a hive of bees at the end of the yard. At least we discovered neither young lady allergic, once they both stung. Clare offered them colouring, toys. They played a football game on the porch, and she delighted in them both.

How am I supposed to experience a world that Clare Latremouille no longer occupies? I shall have to be attentive enough for the both of us, I suppose. I shall have to be silly enough. An image in my head of the remaining members of Monty Python at Graham Chapman’s graveside, the first of the troupe to die: every one of them standing with pants at their ankles.

rob mclennan, Clare Latremouille (July 4, 1964 – November 16, 2022)

My recent video and furthermore (indexed), is getting its first public screening on 23rd November 2022 in the Living With Buildings – IV program in Coventry, UK, as part of their fabulous Disappear Here project, curated by Adam Steiner. This is a quarterly screening that explores human experiences of the urban environment through people, poetry and place.

In Ancient Greece, public notices were engraved in stone on building walls. Now, we find ourselves surrounded by texts: advertising, warnings, directions, graffiti… Meanwhile, the Rolling Stones are in town, violence, scandal and political intrigue vie for attention, someone won the football, and we worry about the future for our youth…

The video samples every occasion that the word “and” was used in the “NEWS” pages on one day in the local Adelaide newspaper. The words following each instance of “and” are listed alphabetically and read by Karen, the MacOS Australian female text-to-voice interpreter. In doing so, it creates a snapshot (indexed) of a day in the news of a contemporary city.

Ian Gibbins, and furthermore (indexed)…

In the old days writers would iambize their prose and dangle rhymes on their line-endings to make their words seem more significant, adding poetic words as glitter. As Samuel Johnson said, some people think that anything that doesn’t look like prose must be poetry. Nowadays writers use strange punctuation, deletions, discontinuities and line-breaks instead.

There’s still something about the label “poetry” that writers find tempting. And why not? Poetic license still exists. If you label a piece “poetry”, readers will look for hidden meanings. The meanings will expand to match the readers’ expectations. It saves the writer needing to do so much. A short text (about doing the housework, say) can go far given a big title like “Death”.

But readers might not be so compliant nowadays. They might distrust the label. They might think the shortness is a cop-out.

They’re more alert to tricks of ads, the lure of mistique, aura, etc. They know how the addition of false eyelashes and tan can trick the eye.

Tim Love, Ornamentation and aura

A first thing the poetry business and the wine trade have in common: the best way to end up with a small fortune in both poetry publishing and winemaking is to start off with a large one. In part, this is because winemaking is often a highly personal project, just like poetry publishing, and people thus often do stuff that makes little business sense.

And then there’s the question of personal taste: I don’t like big, oaky wines from Ribera del Duero. I do admire them in technical terms when they’re well crafted, but I can never bring myself to enjoy them. Same goes for certain types of poetry.

Matthew Stewart, A comparison between poetry and wine

I grew up in a valley bordered on the east by the Rocky Mountains and on the west by the Nevada desert.  Both landscapes were awesome and terrifying–people died in both.  When we drove across the desert on the way to California, the emptiness was so overwhelming I hid on the car floor.   But the sight of the mountains was central and powerful, and I missed them when I moved east.  When I took the train home I spent the last few hours staring out the window, desperate for my first glimpse of them.  Westerners are landscape snobs–I needed that scale.  In the east I sneered at the hills people referred to as mountains.  When people said, “Isn’t this landscape beautiful?,” I literally couldn’t see what they were talking about.  If it wasn’t awesome it didn’t even matter.  It took me years of living in it to realize one day, setting out for a hike (walk) with friends: Oh, this landscape is human scale, you can just walk out into it without risking your life.  And for the first time I saw the value in that.

I think the sublime has to do with extremity and intensity, with things larger and deeper than the human scale of things, with situations where one person encounters whatever it is–the void, the abyss, the unfathomable, immeasurable.  I think the sublime is something we can visit but not live in–the intensity would crush us, as Rilke says.  And the solitude.  Most of our lives include relationships with other people.  When it comes to poetry, the awesome/ sublime may be the most powerful, but I think more poems, including many great ones, are written out of our human relationships–that scale, the one with emotions that range from happiness to rage to love to sadness, subtle and nuanced, looked at closely.  I don’t think I’d describe any of Shakespeare’s sonnets as sublime, for example, however beautiful and moving they are.

Sharon Bryan, Poems of Daily Life

The poem is not simply a clever convolution of words but does ‘make sense’ when read carefully. Apart from its description of a time that is gone, it examines and exemplifies the tortured ambivalence between memory and fact. The slippery methodology of examining a personal memory when looking at a visual depiction of that place in that time. Indeed, can memories be altered by the holder of that memory, other than by recognising its inherent subjectivity.

Jim Young, poem with explanatory notes

Number of books read while here: 14 – 8 collections of poetry and 6 novels. (You can see all the books I’ve read this year on Goodreads – follow me if you don’t already!)

Number of manuscripts read for Riot in Your Throat: 22 and counting – the independent poetry press I run, Riot in Your Throat, is currently open for full length poetry manuscripts. I’m looking for 2-4 collections to publish in 2023 – submissions are open all month so if you haven’t yet submitted there’s still time!

Number of dreams about ex-lovers: 3 – seriously, what is going on in my brain?!

Courtney LeBlanc, VCCA: By the Numbers

A deer drives into a parking lot. It desires nothing. It’s my voice. I’ve been looking for you. Yeah, out on a joyride, now here to buy pants. Later, parking spots turn into breath. My voice full of venison and wheels. Fog and knives. What I desire, the deer says: An on and off switch. My thighs in lake water. But I’m wearing pants. I’m always wearing pants.

Gary Barwin, Pants

Tuesday is my dad’s memorial service, when we will placing both his ashes and my mother’s, which have been on the mantle for the past 5 years, in the ground of the plots they owned since around the time they got married. It is all moving very fast and I have yet to catch my breath or spend much time with my thoughts.  I’ve mostly been working furiously and napping frequently in equal measure. I have to keep reminding myself that its the holiday season, that Thanksgiving is this week.  I am not really feeling it, but am hoping to fake it til I make it, procuring new garlands and stockings from Amazon for my bookshelf, some new evergreen sprigs for some vases. I was going to just wait til I get back to the city next Sunday, but I may just put it up tomorrow. 

I write this post now as I would normally be embroiled in my twice-weekly call with my dad, an hour I have cautiously watched approach on the clock on all day as I did the usual Sunday things like sweep the floors and clean up the kitchen. The past few years, he had taken over where my mother had left off on Sundays and Wednesday nights.  I have always been grateful for that time, mostly since the previous 20-ish odd years of living away from them had involved very little phone convo with him, since my mom liked to do the talking for both of them with him occasionally chiming in from the other side of the room. Only when she was really sick and the delirium had set in did he take over. It was sort of like getting to know someone new, but also very familiar.  I am not quite sure what I will do with myself, especially on Sundays when the 6pm call was so engrained in my schedule my entire adult life. 

Kristy Bowen, notes & things | 11/20/2022

clay and paper string
persuaded him not to prosecute
the silent sneeze

even in the cafeteria
her own aeroplane
is made to be burnt

Ama Bolton, ABCD November 2022

Word went out Thursday that he was moving to palliative. By now you’ve probably heard of the quick decline of Robert Hogg and our loss of him on Sunday.

I never did the math that he was 80. He was busy in the 60s with that zeitgeist of poetic excitement. He had a young energy. Even cancer’s “trauma age” didn’t impinge as much as on some people.

Death has offended and hurt many again. Its timing is never good. In the last few years, Bob was redoubling his efforts to get more of his work out before people while he could. Love while you can, write while you can and support while you can seemed to be his driver.

He was like electricity, always there at the ready when you reach for him. He had a calm gentle humour, plain spoken and as if amused by life.

It’s funny seeing the tributes coming out from so many and from so far and yet not surprising at the same time. He had the rare gift while talking to you of making you the only person in the room.

Pearl Pirie, Bob Hogg

What can poetry do?  

There have been many who advocate art for art’s sake, or l’art pour l’art, as the slogan was initially rendered in nineteenth century France. 

There have also been many, and indeed there are an ever-increasing number, of artists (in the broadest sense) who see their work as a focus for, or extension of, their activism. 

I feel fortunate to have had poems included in a variety of charity anthologies over the years, raising funds (and awareness) for Macmillan Cancer Support, Welney WWT and the Born Free Foundation, to name but three. 

I am delighted to add another to the list in the form of Voices for the Silent (Indigo Dreams Publishing, 2022), the new companion volume to For the Silent (Indigo Dreams Publishing, 2019), edited by Ronnie Goodyer, Poet-in-Residence at the League Against Cruel Sports. These companion (or stand-alone) volumes have been produced to aid the work of this charity, and not surprisingly some of the selected poems concern animal cruelty. Others focus on habitats and the wonders and complexities of the natural world. 

Caroline Gill, ‘Voices For The Silent’, New Anthology from Indigo Dreams Publishing

  1. My unfinished poems. Technically, what is the status of a half-done poem when life is finished?
  2. The first thirteen lines of a brand new poem. Quite unrelated to the situation at hand. Poetry comes when it comes. Even through a canula.
  3. One person I wanted to apologize to. From way back before way back. Time moves in mysterious trajectories inside a hospital, dodging right angles and ramps, needles and gurneys.
  4. How mesmerizing that infinitely slow drip from the IV pouch is – like an existential morse code. Drip. Dash. Dash. Damn. Drip.
  5. Two questions the universe hasn’t answered yet. The universe needs deadlines and then someone to enforce the deadlines. The united nations of forsaken questions.
Rajani Radhakrishnan, The night before surgery: thoughts and stuff…

You wait.
That’s what you do,
whether the poems
come, or not,
the old monk said.

Tom Montag, TEN OLD MONK POEMS (94)

First, while the press aims to be sustainable, it is not trying to be profitable. Breaking even is acceptable to me, and I would consider it a victory to be able to break even while 1) putting good poetry into the world and 2) continuing to donate half of all sales. If there are times when I go into deficit by a hundred dollars or so, this too is acceptable to me personally. However, I am rigorously working to avoid this. And again, even without the $500 donation, I’ve still basically broken even on a relatively large ($1000) investment, and I’ve also managed to give away almost $850 — all while getting my poems into the world. So I’m OK with how things are going.

Secondly, the great majority of the money spent so far was “start up” money, and this does not represent ongoing costs. These initial costs include both tools I will not need to replace anytime soon, if ever, as well as a lot of practice materials I won’t ever be buying again (different weights of card stock and paper, in particular). Thus, the longer the press continues to exist, the more it will produce from these initial materials, and the more it will earn from them.

R.M. Haines, DMP Summary and Receipts: 10/17 to 11/14

So, this weekend, I am working on final edits of Flare, Corona for BOA – including updating last-minute acknowledgements, deciding on spelling conventions that I apparently don’t write twice the name way, and keeping an eye out for wayward commas, and I’m also sending out e-galleys of Flare, Corona to people who might be interested in reviewing it. If you are interested in reviewing it, in a Zoom class visit, or book club inclusion, please e-mail me at jeannine dot gailey at gmail dot com and I will send you a copy!

I’m monitoring the somewhat sad situation at Twitter. If I had 44 billion dollars, I think I’d do a better job of managing the product instead of destroying it, but Elon Musk is a really bad manager with a lot of money willing to hurt others in the process of getting his own way (toxic misogyny writ large, I’m afraid) and I’m sad because I’ve built relationships with not just the poetry community but disability Twitter and even fellow cat and flower lovers and I hate that a spoiled billionaire can make everything crumble in a few days that I’ve built for years. On the other hand, it makes you rethink your whole relationship with social media. For writers it’s essential to connect with audiences—and for a long time, Twitter was the place to connect with Millennial friends, writers, and readers.

Jeannine Hall Gailey, November Sunshine in the Pacific Northwest

Finally, there is this blog, which has endured all sorts of personal, technological, and societal changes since it began in 2003. As a firm believer in owning and controlling one’s own online content, I’ve no intention of letting it go, and instead, have been thinking about how to infuse it with more energy now that I have some time.  Could it be more educational, more helpful? Could it help to launch new projects and bring people together, as it has in the past (quarrtsiluni, Phoenicia Publishing, online groups)? What else is there that I haven’t considered? There’s nothing wrong with social media functioning as a hub where interested people find content and go to it, but as our disillusionment with these social platforms and their capitalist agendas grow, could blogs regain some of their gravitas and a new sense of purpose? I wonder.

It depends somewhat on our expectations. I do know that I don’t care about the number of followers or readers, and we are long since past those heady days where aspiring writers thought they’d become well-known through their blogs — there’s no way that someone steadily writing good but long-form posts would become famous like a seductive Instagram influencer, not in today’s world! But careful and engaged readers and writers still do exist […] Blogs like Language Hat, Velveteen Rabbi, Hoarded Ordinaries, and Whiskey River have kept on quietly, steadily, thoughtfully posting for nearly two decades now, and there are many others. If these are not impressive and worthy bodies of creative work, I don’t know what qualifies.

Beth Adams, Coming Up for Air

The weather is cold cold cold, but the days are so brightly sunny I keep saying I need to get my sunglasses back out. I’m savoring every last bit of true fall that I can, before we pass Thanksgiving and it is officially winter holiday season. I love this time of year, when we go inside and get cozy but don’t yet have a bunch of other obligations. When we love light all the more for its scarcity.

For so many reasons, I really can’t with Thanksgiving much any more, but I will always love taking time to notice and name what I am grateful for. In this funky week full with appointments and phone calls and triggers and wind and wool sweaters, there was one morning where everything sparkled because the temperatures had dropped below freezing overnight, but the sun was rising. Branches were newly bare, but there were still leaves clinging to them–leaves blazing with their final colors.

Rita Ott Ramstad, Pain management

I think some of the things I’m doing right now that are part of my work for the NF book – visiting museums, walking, reading – are exactly what I should be doing and I am realising just how stressed I get if I do too much ‘people’ stuff in one week. I’m trying to train myself out of feeling and labelling myself as ‘pathetic’ or ‘ridiculous’ or ‘weak’ if I need more rest than perhaps other people seem to, or if I’m not juggling 100 projects at once and just want to plod slowly into a book. This is where I have always wanted to be – plodding into my work, absorbed in it like the utter library nerd that I am. I just want to read books and write books and have the time and energy to do that.

Perhaps my dad’s death has opened up a few old wounds, wounds I thought I’d packed and sewed up tightly. I don’t know. It’s been a hell of a year, again. I’m starting to think about goals for next year, starting to think about my rituals of the new year. I’m ticking off some big goals from 2022 and that makes me wonderfully happy, and I am surprising myself with the new goals in my planner, they are much less poetry centred. I feel strangely guilty for moving away from poetry, even if it is only while I work on the non fiction project. I’ve cut my work back to some mentoring, running Spelt and running the occasional course. which still sounds like a lot really, on top of writing a book. Having the opportunity to help other poets progress their own writing is really important to me, and it’s also a source of absolute joy for me, mentoring in particular. And I love the camaraderie of the email courses I still run. When I come to write prompts and notes for a course it feels like putting a comfortable cardigan on, and mentoring always feels like meeting friends. I find, more and more, that the work that I am choosing to do brings me joy, I find that when I look around myself, my life is good. Terrible fretting over what the next terrible loss will be aside, I am happy and enjoying the way my brain works, and I’m looking forward to reflecting that in my writing. But still a part of me clings to the idea that if I’m not cramming in more stuff, applying for more things, winning more things, making more connections…I’m not doing well. I need to change the definition of ‘doing well’ and emphasise ‘feeling happy’ more I think.

Wendy Pratt, Writing and Reading the Trauma Poems

I’ve been feeling a bit overwhelmed by the good poetry news I’ve received lately, and I’m behind on sharing it here…

At the end of September, my poem “One Way to Use a Deck of Cards” from How to Play was featured on Verse Daily!

Last month, two of my poems were published in Writing in a Woman’s Voice: “After an Older Man from Church Drunk-Texts to Tell Me I Looked Good Topless in His Dream Last Night” and “What’s Something You Love That Can’t Love You Back?

Also in October, two of my poems were published in Pirene’s Fountain: “This Poem Is about Dinosaurs” and “Choosing a Moon.” This whole issue is fantastic, and you can purchase a copy at this link.

This month, I’ve gotten some happy award news! “After an Older Man from Church…” received the Moon Prize from Writing in a Woman’s Voice on November 9, and “This Poem Is about Dinosaurs” was just nominated for a Pushcart Prize this week! I’m so grateful to these editors who’ve published and affirmed my work and to the folks who encourage me and read my poems.

Katie Manning, Verse Daily & Moon Prize & Pushcart (Oh my!)

Lately I’ve been remembering the dances I’ve already had – the romantic ones with boys/men a long time ago.  I now know that at least three of those boys/men have passed on. That’s something else I’ve considered:  the synonyms for “died”:   passed on,  passed away,  etc.  One of my sisters always says “Gone to God.”   The dogs and cats who have “crossed the Rainbow Bridge”  

I still have the image in my head from when my dad died. I visited him on a Wednesday, and on the following Friday I was at a meeting in Buffalo and got a call from the nursing home that he had died in his sleep in the middle of the afternoon.  I envisioned him on a small boat, moving away from the shore of the living on the sea of eternity, quietly moving on, his face toward the horizon.

Anne Higgins, The Dances you’ve already had

Poetry Blog Digest 2022, Week 39

Poetry Blogging Network

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: mushrooms, ellipses, precarious trees, the inestimable unknowable, tiny people on a tiny screen, and more—so much more. Enjoy.


I am trying to focus on the good in the days. What hope survives the hurricane and what small joys it misses entirely: the bones that are surprisingly strong, and the seemingly fragile, tiny wings of things that hide and hold on. Maybe in a world that is so arbitrary, the real good is to walk behind a storm and gather the good. Willfully accepting.

The students are playing in the park this weekend. While they pin themselves, and spirit gum themselves into their costumes to rehearse, I photograph the white mushrooms growing on a tree stump. White, marshmallow ears.

Ren Powell, The Dead are Listening

Each memory—
                 a shattered 
puzzle. 
      It could be raining 

on the inside
      of this skin.

Romana Iorga, Forecast

Experience collects, filling my cracked cup. I hold it tight
between my finger bones. It is all that I know.

Charlotte Hamrick, All the Days Come ‘Round

But back to basics. An A. A W. An ampersand. The Hebrew letter Shin (ש). Ellipses, those no-see-um markers which represent what isn’t there. […] If one wants to edit out the ellipses, one needs to put them back in in order to signal that they are gone.  

A door is a door but it is also the Hebrew letter Dalet (ד). Why am I telling you this? I don’t even speak or write Hebrew. But that’s why. As a child, I sat in synagogue and marvelled at the books filled with knurls that were letters. Scrolls filled with them, lung-sized rectangles of close-inked text on sewn-together pages of parchment; letters, crowned exoskeletons both etymological and entomological. Scrolls crowned in literal silver crowns, wrapped in velvet, kept in a gold-lit ark. […] The sounds of chanting, the cantor with a silver pointer in the shape of a pointing finger. And the marvel that these letterforms, these mouthshapes, were unintelligible to me except as script or music. The calligraphic maze. An amazement. The shapes of letters as tactile, aesthetic, their meaning not in their meaning but in their form, the inky music of looking, the region of the brain, evolving with these letters, the calligraphic region, the frontal majuscule, cerebral longhand, the amygdalet (ד), the homunculus not holding a pen but made of language, of letters. […]

Gary Barwin, Language2 or the square root of minus language. [ellipses in original]

It always strikes me, when I finish a sketchbook, how much like a diary it actually is. During this journey through a little more than a year — a year that’s seen a lot of upheaval and emotion and change — the images and the choices recall exactly where I was and what I was thinking, while to the viewer, they probably look like innocuous still lives, landscapes and skyscapes. In some ways, this visual diary is more personal and secret and coded than written words could ever be.

Beth Adams, A Visual Diary

When I first read The Artist’s Way, I didn’t grasp its connection to the modern recovery movement. Each chapter starts with the words “Recovering a Sense of.” Laid out in a twelve-week plan (I later learned that Cameron is a recovering alcoholic) the chapter titles end in positive, affirming words: “safety,” “identity,” “power,” “integrity,” “possibility,” “abundance,” “connection,” “strength,” “compassion,” “self-protection,” “autonomy,” and, finally, “faith.” My favorite parts of the book, however, were the sidebar quotes. From M. C. Richard: “Poetry often enters through the window of irrelevance;” from Jean Houston: “at the height of laughter, the universe is flung into a kaleidoscope of new possibilities.” Read in order, these flashes of insight created their own text.

So how well does The Artist’s Way, and other books in this genre, hold up after thirty years? They are still worth reading, as long as readers understand that there is much more to an artist’s life than what they present. One of the glaring omissions in these books, which strikes me as odd since they’re mostly written by women, is a frank discussion of the obstacles that women face when they attempt to carve out some time for themselves in order to practice their art. Cameron touches on it in Chapter 5, but she muddies the water by toggling between hypotheticals: a man with an interest in photography vs. a woman who wants to take a pottery class. These are not equal entities, but Cameron treats them as such.

As we all know, wives, mothers, sisters, female servants, etc., traditionally did the domestic work, including raising children. This mostly unpaid labor provided male artists with the time and solitude they needed to be creative. As Toni Morrison states, as quoted in Chapter 5 of The Artist’s Way: “We are traditionally rather proud of ourselves for having slipped creative work in there between the domestic chores and obligations. I’m not sure we deserve such a big A-plus for that.”

Gradually, I outgrew The Artist’s Way, and its exhortation to unblock my creative potential. I’ve come to realize that Cameron’s book, as well as Goldberg’s and many others in the creativity genre, are as much autobiography as they are instructional manual. They tell a compelling story of recovery from a variety of things, whether substance abuse, low self-esteem, or a lack of faith; for that alone, they have value. 

Erica Goss, The Artist’s Way, Thirty Years Later

I don’t even know where they are
the precarious trees
colour-coded

she’s taken up rowing
tinkering on the piano
in the darkroom

Ama Bolton, A day at the Dove

I remember being overwhelmed with tears in Venice, thinking, wow, it looks just like its pictures, but it’s REAL and I’m HERE. The same with the Alps. Standing practically nose to glacier, or what’s left of them anyway, or to feel, through that strange clarity and distortion of light and perspective, that I could bend across the balcony railing and the deep valley that separated me from the mountain, that I could like it like an ice cream cone. Or even just visiting the next town over when I haven’t been there for a while. Wow, when did this building go up? Hey, I never noticed that garden before. That big tree is gone but look there’s a woodpecker poking around in the stump.

I rarely write in the moment. You won’t often find me scribbling at some foreign cafe, although I like the idea of it. Travel is the time of intake, of slurp.

Only later will time distill all that I took in and leave the vivid traces of travel. That’s what I may write about. Or use as imagery as I write about something else entirely. Those moments or experiences that have stuck to my skin, have wrinkled into my brain are what I can put to use in the building of a poem, visceral, lively. Or at the very least, travel nudges me to recall in my daily life that sense of being alert and perpetually interested.

Marilyn McCabe, Baby baby baby, baby baby baby; or, On Travel and Writing Poetry

Each day oscillates between what shrinks
and what expands, what I once could do

and what I can, sweet jazz and pounding,
a clock that crumbles into dry ash
or measuring cups overflowing

with uncooked rice and broken nut bars.

PF Anderson, NINES

Is imagism really the goal?  It doesn’t have to be, though there is something to be said for the principles that H.D., Aldington, and Pound formulated in 1912, in regard to direct, sensory, concrete description that avoids metaphor, simile, personification, or apostrophe.  And it’s a lot harder to do than it initially seems.  But there’s also something static about the image, even if ideally it embeds within itself a whole “complex” —  and H.D.’s “Evening” demonstrates how to graph movement imagistically (rather than staying stuck in the “instant”).  We can also think of the directions in which William Carlos Williams took the thing, the ways in which Lorine Niedecker makes imagism kinetic, or how imagism shows up in the work of a contemporary poet like Harryette Mullen (e.g., in her tankas).

Once learned (true imagism), who wants to stay static, but it is still a poetic skill worth learning.  It connects us to the world, to the environment, to non-human animals, to plant life, or even to the concrete concrete of a city.  Connecting us to the world, it breaks us out of ego, out of our own heads and feelings, which is sometimes a good thing to do.  It is a mode we can return to and maybe interlayer with other poetic modes as our deepening compositional experience enables.  Okay, poetics class over — now go do whatever you want.

Michael S. Begnal, A Few Thoughts on Imagism per se

Where do I start? With a winter solstice poetry reading in Brooklyn, in a dark room on a dark night; his poem evoking a Di Chirico painting made my head explode, the work was so much more interesting than anyone else’s. But we didn’t speak that night. I met David before the equinox the following year, at a critique workshop run by the people who had set up the solstice reading: Merle Molofsky and Les von Losberg.

David didn’t have a presence; he was a presence. He read in a growl, with a slight lisp and a Brooklyn accent, and he could quiet a room. The poems were not lyrical or narrative, nor formal, nor confessional–they were jazz-like, full of strange images that sounded like surrealism and yet were not. He wrote prose poems and free verse and tiny little aphoristic pieces that sometimes made me laugh and sometimes broke my heart. He was not famous. He had not studied with well-known poets. But he had much to teach me, I thought, from the first time we sat around a table and read our work to one another.

Ann E. Michael, Poetry mentors: david dunn

“Worrying about the lorikeets” appears to be about another unsuitable marriage between two people who are polar opposites, “He opts for Def Leppard to her Bach,” when they come across a dead bird,

“She saw in his upturned eyes the weight
Of its dumb pain—then it was that she
Remembered what she’d always known.”

His sorrow for the bird reminds his wife why she married him.

“Anamnesis” is a subtle, thought-provoking collection that explores memory both in terms of what’s remembered but also inherited memories and how memories accumulate. The poems are gentle but multi-layered, inviting readers to return and re-read.

Emma Lee, “Anamnesis” Denise O’Hagan (Recent Work Press) – book review

A woman is moved on for holding up a sign.
A man is warned he will be arrested
if he writes on a blank piece of paper.

In the pavilion of continuing hypnosis,
the gentlemen in striped blazers applaud.

An army crosses a river. A bridge not blown up.
The dry season. Hurry, before the rains come.

The morality police murder a woman
because her hair was visible
as she walked in the street.

The wind whips stones into shapes
that say what we need to hear.
When we place stones in a circle
do we shut ourselves in or out?

Bob Mee, THEY WILL FIND A THOUSAND GRAVES

My personal poetry highlight of the summer was listening to Roger Robinson read and be in conversation with Pádraig Ó Tuama at the Greenbelt arts festival.

It was a performance of great generosity, humour, anger, humility and power. You get to a stage in your poetry-going/reading life when you can tell when people are phoning it in. There is no more dispiriting a spectacle. This was the opposite of that. The more I’ve thought about it, the more it reminded me of a remark by the conductor Benjamin Zander, when he said that a maestro achieves their power not by making a sound, but by releasing those around them to be the musicians they are meant to be as they interact with the score.

Prompted by the twinkling Pádraig (‘It’s on page 51’), Robinson treated us to a several poems from A Portable Paradise as well as many more from his earlier volumes, some of which are now out of print. Introducing ‘The Job of Paradise’, he spoke of how it was inspired by the sight of a hearse slowly turning the corner of his road in London. He removed his hat, he said, and stood in respect as the hearse passed by. But it made him think. Here was the driver of that hearse, doing his job, suit and shirt pressed, his gaze steady, his pace stately. And here was the hearse doing its job, just by being a hearse, a long, shiny black car unlike all the others in the flow of traffic. And from there he made the point that it is the job of each poet and poem to ‘remind us how to live our days’ by showing readers the ‘paradise’ that is all around them.

Anthony Wilson, Lifesaving Lines: The Job of Paradise, by Roger Robinson

In the last breath of September, it was my pleasure to attend and celebrate Gary Glauber’s new collection of poems, Inside Outrage (Sheila-Na-Gig Editions, 2022).  He read beautifully via Zoom.  His selected poems touched upon an array of topics:  Love, Mr. Rogers, teaching, poetry, civil justice at Starbucks.  It was the perfect antidote to the drumming of the atmospheric river and wind pummeling the windows outside, allowing me to disappear inside, into words for an hour that passed too quickly this afternoon.

With a shelved and bespectacled Homer Simpson over one shoulder and a guitar over the other, Glauber began his reading with his poem, “Blocked,” one he explains celebrates a lifetime of poetry.  The poet reminds readers, “Let us celebrate the infinity / of our limited mortality…” It is also one that considers time and the travel of the “…inestimable unknowable” that is “much like a poem.”

Kersten Christianson, Gary Glauber’s Collection of Poems, Inside Outrage

In ancient times, spiderwebs were used as bandages.

Rats laugh when you tickle them.

A dentist invented the electric chair.

It rains diamonds on other planets.

Bumblebees can fly higher than Mount Everest.

Men are more likely to be colorblind than women.

There are a million rivers all around me, but only one of you flowing through my life.

Rich Ferguson, A Matter of Fact

You want to believe it
and you can’t —
that’s the miracle,
the old monk said.

Tom Montag, TEN OLD MONK POEMS (87)

What would we like others to know about our experiences these last years? If you could tell folks in the future in a sentence or two, for example. When I was in a very. dark. space. at one point, I couldn’t articulate it, more because I knew that if I did things would get darker for me personally. But I learned some things in that dark place I’ll never forget. The line by Nicole Brossard is one that has popped into my head a lot the last couple of years: “You have to be insane to confide the essential to anyone anywhere except in a poem.”

Shawna Lemay, Taking the Light into the Dark

After lunch and cake with friends, I spent several hours of my 53rd birthday sequencing Wonder & Wreckage. My goal is to have the manuscript complete by Christmas. 

Collin Kelley, Self-portrait at 53

Selected by Aimee Nezhukumatathil as the winner of the A. Poulin, Jr. Poetry Prize is the full-length poetry debut Two Brown Dots: Poems (Rochester NY: BOA Editions, 2022) by “Kentuckian, a mom, a knitter, and an Affrilachian Poet” Danni Quintos. Her first-person explorations and recollections write around and through a self-determination and self-creation, seeking answers to a space she requires to singularly establish; illuminating lyrics around memory and being, offering answers as best as she is able, in due course, due time. Set in three sections—“Girlhood,” “Motherhood” and “Folklore”—Quintos writes across the length and breadth of lived experience, from watching her father from a distance, summers and childhood crushes and living as an awkward youth, to the experiences of pregnancy and eventual motherhood. She offers stories of her connections to the Philippines, writing of a familial background she simultaneously holds and can’t help but carry, offering, as part of the poem “Possible Reasons My Dad Won’t Return to the Philippines,” “What if he remembers everything [.]” A few lines further, as the poem ends: “[…] the little boy in him left / here with all the cousins, no one / to call nanay or tatay, alone, / the shape of him on a mattress / the version of him that stayed.” She writes of differences, from the ways in which most (if not all) teenagers feel as outsiders, to the consequences of racism, reacting to boundary-making micro-aggressions offered for no reason other than the colour of her skin. “I didn’t yet / understand. And every summer after,” the poem “Brown Girls” ends, “a whirring // reminder that I didn’t belong here, a little song / sung at me by the bodies that slept for years // underground. How we couldn’t see what he saw: / two brown girls under a white couple’s roof.” In certain ways, Two Brown Dots is a collection of poems entirely centred around the body, and how those bodies are experienced, both from outside and within, offering physical responses through the lyric, from adolescence to the fact of living in a predominantly Caucasian space. Her poems are sly and smart, curious and rife with detailed narrative.

rob mclennan, Danni Quintos, Two Brown Dots

I’ve been proofing chaps and reading manuscripts and thinking about October happenings. I have also been proofing the final version of automagic and getting it ready for my first galley in a week or so. I feel when I get back from being gone, there are a couple days of finding my rhythm again. 

But yes, here we are on the cusp of October.  I not only made chicken soup I’d intended for the weekend, but have had the space heater on since yesterday, but mostly gazing longingly at the shut windows and wishing I could open them again.

Kristy Bowen, notes & things | 9/30/2022

Last night at the Library of Congress, Ada Limon gave her inaugural reading as the nation’s poet laureate. A few weeks ago, when I realized that my canceled Thursday night class was the same night, I applied for a free ticket.  I got one, but in the end, I decided not to go.

I got an e-mail on Wednesday that advised that we would be required to wear masks, and I would have been wearing one anyway, but I did start to think about the wisdom of this kind of indoor event when a pandemic is ongoing.  I did get a booster shot on Friday, but I’m not in a hurry to test that protection.

I don’t know why I didn’t think about the potential of crowds when I requested a free ticket.  I’m not used to sell out crowds at poetry events, and the Wed. e-mail advised that we would be at full capacity.  The line to get in for the 7:00 p.m. reading would start to assemble at 5:00 p.m., and we’d be let in to get seats, if we were far enough in the front of the line, at 6:30.  There would be overflow seating in a hall where we could watch on a screen.  […]

So, what did I do instead?  I went to the American University library to get my Wesley ID activated to be able to use the AU library.  I came home and made myself a dinner of roasted brussels sprouts and a baked sweet potato, which was much tastier than it sounds.

I was feeling oddly exhausted, so I was even more glad that I didn’t go downtown.  I was asleep by 8.  But before that, I tucked myself into bed.  My bed faces west, so I had a great view of a glorious sunset, as I read Hilary Mantel’s Wolf Hall.  It wasn’t the cultural/literary even that I had planned, but it was the one that I needed.

Kristin Berkey-Abbott, Laureate Thursday, Literary Thursday

               I learned my first prayers there,

waiting for the butcher’s hand to emerge
               from out of the pocket slit in the throat

of a thrashing animal. You said if I closed 
               my eyes, sound would be more 

terrible than sight. My reward: small 
               specks of a sweet inside red-taped 

pitogo shells, unburied with a bamboo sliver. 
              I wake sometimes with the sense of a footprint 

small as a snail’s, pilgrim feeling for a path
              to everything we’ve always wanted to say.

Luisa A. Igloria, In dreams you walk through wetmarket aisles with me again

Has your consideration of poetry changed since you began?

Yes. Many times. I thought for a long time that the “I” in a poem should be taken out, obscured, muddied, that the worst kind of poem was a deeply personal poem. My first book (Little Prayers, Blue Light Press, 2018) is filled with fantastical leaps and it takes a kind of sideways look at my personal experience. In 2017, when I started work on the manuscript I’m sending out now, I surprised myself by writing intensely raw and revealing poems about my experience with motherhood and my struggles with infertility, including the life-threatening miscarriage I suffered in 2013. I had to shut off a voice telling me that this kind of writing was bad. It’s been very freeing to write about this stuff, though the challenge, always, is to find some way of moving beyond the myopically personal into more universal territory, and I’m always looking for models. Franz Wright did this beautifully in his writing about addiction, God, and mental illness.

Thomas Whyte, Susie Meserve : part two

tiny people on a tiny screen
even through headphones
I can hear the rain

Jason Crane, haiku: 1 October 2022

I’ve just finished reading Cal Flyn’s Islands of Abandonment. It is an extraordinary book, beautifully written. It’s one of those books that you can sink into, and carry around with you, exploring the themes and questions and points of view in your mind. It came at just the right time, as I feel I have been exploring my own, metaphorical islands, some of them abandoned, some of them not so much. Cal Flyn’s islands are real places in which human intervention has stripped and scorched them, the interest is in the psychological attachment to them, and the physical response from nature. My metaphorical islands are grief, writing, friendships. Last week I sent the new poetry collection to the publisher. I know they’re waiting on ACE funding, like so many indie publishers, so I’m really just waiting to see what happens before I can release any details. One nice thing about it was the way that my editor shortened the title of the collection in her response email. Something about that made it feel familiar, wanted, warmed to, and that made me happy. The collection has passed through that strange place, has gone from being a Schrödinger’s collection that exists only when I perceive it to be a collection, and is now a manuscript on a desk in a publisher’s office with a title that is solid and firm, a title that can hold the weight of being shortened for ease of communication. Put simply: It exists as a complete thing, it is created.

And so I bed into the non fiction book. I’ve started getting out and immersing myself in the physical places on which the non fiction book is based. It’s been wonderful. These places are islands of time in which I can almost touch the people who came before me, who lived on this land.

Wendy Pratt, Exploring the Islands

Every part of the country has things everyone knows if you live there, but comes as a surprise to outsiders. Like White Sands in southern New Mexico. I had been to Seattle several times but had no idea that Spokane was known as the Lilac City. If I hadn’t read Talley’s chapbook, I still wouldn’t know that. But you don’t need to know that to read this book; all is soon explained. And the poems here do many good things besides giving information.

Postcards from the Lilac City begins with stories of growing up in a certain place, Spokane, Washington, with change over time: a carousel taken down and later restored, bike riding before helmets were worn, the time when bikes are replaced by a brother’s old car.  Already there is good language and some experiment in form; in the later sections the experiments are bolder.  In the middle section, “Spokane Postcards,” a stanza of description is followed by a letter from the author to someone from back home – never mind that many of these missives have too many words to fit on a typical postcard.  The last section, “After Vietnam” does not return to a historical approach, as one might expect, but presents various moments in a variety of forms from an adult perspective.  The whole makes a satisfying read, sharing specifics of experience in poems carefully crafted.

Ellen Roberts Young, Recommendation: Postcards from the Lilac City by Mary Ellen Talley

There’s a good case to be made for October being the loveliest month, in England at any rate; though only really when the sun shines and the plentiful golden yellows are at their best, like Samuel Palmer landscapes before your eyes.

It’s also a month of melancholy, too, which suits me just fine. The ideal time to get stuck into some serious reading, which, in turn, will feed into writing. Over the years, early autumn has traditionally been a time when I will make a concentrated study of a favourite poet’s oeuvre, to see how the quality of their output, and the clarity of their thinking, deepened over time. Poets who, either by choice or premature death (yes, I realise that most deaths are premature in some respect), published in a disciplined and selective manner are ideal for this, Elizabeth Bishop for one.

Like everyone and anyone who loves poetry, I’ve long liked Bishop’s poems. Curiously, though, real, devoted love for them has been awakened in me through an apparently unlikely source, Colm Tóibín. His book On Elizabeth Bishop, published by Princeton University Press, is as fine a critical reader’s study of another writer as any I’ve ever read. I find it interesting that it should be a writer known until recently solely for his novels, albeit wonderful ones at that, who has really opened my eyes.

Matthew Paul, On (Colm Tóibín on) Elizabeth Bishop

This weekend feels a bit like the last hurrah. University starts soon and I know any free time I have will be focussed on that. The weather is beautifully autumnal, leaves glowing with sunlight as if it’s putting all their energy into one last show. It’s infusing the poems I’m trying to write. And I’m writing which hasn’t happened much lately. 

This weekend is Zineton, a 48-hour challenge to create a zine. Helsinki Writers are having their second go at it. I’ve discovered a fun AI art site Wombo which is making it even more interesting as I really don’t have any talent for visual art. So I’m writing a couple of poems for that and waiting for the other writers to send me their work. Then the rush to put everything together begins. 

Gerry Stewart, Zineton and Scotstober 2022

The cover for Flare, Corona was chosen this week (reveal soon!), and I started thinking about mailing lists, updated business cards, and scheduling readings. Oh yes, and Seattle AWP next March. My PR for Poets book recommends starting six months ahead of time laying the groundwork for the book launch, and that suddenly hit me.

Also, this month is full of literary activity: the book club I host is meeting on Oct 19th, the Skagit Poetry Festival is happening next weekend, and I’m working on an interview and a spooky poetry podcast. Plus, I’ve got poet dates—getting back into social life is gradual for me—because, let’s face it, in Seattle most of us start hibernating in November and don’t come out until March.

Jeannine Hall Gailey, Welcome to October: Upcoming Book Launch Planning, Upcoming Book Club, Poetry Festivals, and Podcasts

Pumpkins are all right (in pies, not in lattes, thanks)–but what the suddenly cool, rainy weather makes me want to do is read. It’s also nourishing to be read. Hurrah for the thoughtful attention Sarah Stockton gives Poetry’s Possible Worlds in the Staff Favorites section of River Mouth Review. I love the Octoberish timing AND that it coincides with the second printing appearing at the distributor. This means you can order it again directly through SPD or your favorite indie bookstore. It’ll soon show up on other places you order books, too. A small press book tends to spider along–think of silk threads thrown out, wafting in a breeze, and finally sticking somewhere. It’s both a stroke of luck when it does, and a result of arachnid effort and patience. The first push on this Poetry’s Possible Worlds is done, I think, but I’ll keep spinning.

The small press book I’m reading right now is Allison Adelle Hedge Coke’s Look at This Blue. I hadn’t realized before I picked it up that it’s a long poem–she calls it an “assemblage”–although the thinking she does about epidemic violence, ecological damage, and inequity is a through-line in all her work. I need and want to read it slowly and not when I’m tired in the evening, which has been my time for page-turning fiction.

Lesley Wheeler, Book season (hours of ellipsis)

who breeds the flowers that hurt so much

whose wound mourns the gun

shall we grow weary of searching when we’ve buried the sun

Grant Hackett [no title]

Poetry Blog Digest 2022, Week 34

Poetry Blogging Network

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, bloggers sounded more hopeful notes as another school year got underway in many places and a hint of autumn crept into the air.


I remember some key things from psychotherapy. It was a revelation to me when my therapist said: 

It’s okay to change your mind

He didn’t, in that moment, mean about what I was having for dinner, but that’s included in the permission to understand that our words are not always our bond, but our process – a way of getting to grips with thought, emotion, woundedness, intent, desire, the bewilderment of being unsure of what we want because of, well, because of (for one thing) our unique interaction with the world not being taken seriously enough as children. Being squashed down. 

The poems: they don’t come out fully formed, you know. It’s usually a bit messy. 

So here I am, back in my blog which, I have learned since I announced its demise in June, is a friend I don’t want to live without. Not right now, anyway, when I’m in grief and times are so troubled. 

Liz Lefroy, I Step Through The Gate

And a father sells his nine-year-old daughter in marriage to a sixty-year-old man and tells his screaming wife Get back inside, you donkey!

Ah, but this is not poetry, you say.

And a child’s arm is blown off when a guided missile smashes into an apartment block.

Ah, but this is not poetry, you say.

The humiliated stand silently in small groups, waiting for re-education to begin.
Repeat after me: I am guilty on all counts.

Ah, but this is not poetry, you say.

Any minute now, nothing will happen.

It’s always about the unsaid.

Bob Mee, AH, BUT THIS IS NOT POETRY, YOU SAY

watching the storm
from the darkness
of the driver’s seat

Jason Crane, haiku: 21 August 2022

I feel an amorphous weight inside. I think it is because of the new series of poems I am writing. Or attempting to write. Honesty does not come easy. Words that should want to break free of restraint and guilt, sit and stare at you with soft, reproachful eyes. I have backspaced more than I have written. I have written more than I thought I could. There is still a mountain to climb. One step up, two steps down. One poem in. Two poems out. The mornings are weary of my wounds. The night refuses to listen.

I read instead of writing. Jane Austen’s ‘Persuasion’. I read a little. I backspace some more. I meet friends, people who may be friends. I talk a little. I backspace even more.

Austen’s Anne says in the book, “that she thought it was the misfortune of poetry, to be seldom safely enjoyed by those who enjoyed it completely; and that the strong feelings which alone could estimate it truly, were the very feelings which ought to taste it but sparingly.”

I wonder if poetry should be enjoyed safely. I wonder if it should sear and chill and raise and drown. Both poet and reader. Austen in her dulcet voice sounds a note of caution. For both poet and reader. So, I ask myself as Rilke commands. Must I write?

Rajani Radhakrishnan, Survival Guide for Poets

In a previous life, I was a waitress…before that, a farm girl. I spent a lot of my farm-girl childhood pretending to be a horse named Stormy. I think somewhere in time I was a tree.

Bethany Reid, In Your Previous Life

I’m rereading [Rebecca] Solnit’s A Field Guide to Getting Lost, which is completely dog-eared from my first time through, so many pages I tagged that had ideas I needed to revisit and think about or phrases I loved or things I needed to go back and write about. Now too I have to pause after every page or two because so much thought is incited in me by her own. This is reading at its finest! “Reading with a purpose,” as it were, as I was in need of food for thought, and this is a feast indeed.

And yet the what the book also is teaching me is that as a writer and as a traveler, I need to learn how to be lost. If I can unclutch the map, not worry so much about where I’m going but focus more on where I am, I could discover more. And don’t we travel, and don’t we write, to discover?

I can feel sometimes my rising anxiety to get where I’m going — I’m speaking here both about travel and about writing, of course. Feel the urge toward the relief of “oh, there it is.” But what is my hurry, and what is the problem with lingering withOUT purpose, with turning and ambling, poking down an alley just to double-back. What is the problem with being a stranger here myself?

What Solnit does so well is just that, diverge, pause, seem to take an odd turn, but somehow she finds her way back, and I, the reader, am perfectly content with the zig and the zag. To wander and to wonder. The word wander is from words related to wend and weave. The origin of wonder is unknown.

Marilyn McCabe, Why am I soft in the middle; or, On Writing and the Unknown

The most important question behind the question is: is reality something we can have a relationship with? Is it something that we can love? Is it something that can love us? And my answer to that, again emphatically — passionately — is yes. It’s not only possible, it’s necessary. We already do love it: it already loves us. To understand and unfold that is a work much larger than a lifetime, larger than all the lifetimes. But we did not step into reality from somewhere outside it. We are not strangers here, looking to strike up an acquaintance. To see the universe as alien and unintelligible — that is a really extravagant philosophical position, a totally untenable one. That we, each of us, popped into existence ex nihilo, and must grope about looking for ways to make contact with an alien universe — that is the default philosophical position of the modern world, and it makes even less sense than God as a patriarch of ancient Palestinian herdsmen. We are not foreigners here. We love, and are loved, from the very beginning to the very end. For better and for worse.

Such a sweeping statement prompts the question, “am I really saying anything? What is this love worth, if everyone has it all the time?” This love isn’t (necessarily) passion, or fondness, or esteem: it’s only a philosophical assertion of connectedness. It’s not what one hankers for on a lonely Saturday night by a silent phone.

In a way, no, it’s not saying anything. But it flips figure and ground. It changes the question of loneliness from, “how do I connect in this alien, unintelligible universe?” to “what must I do to shake off this delusion of separation?” My loneliness is not something I have found: it is something that I make, moment by moment. The task is to not to start something, or build something; it’s to stop something, dismantle something.

Dale Favier, Dismantling

Every so often, I still taste soap from all those years ago when my mom would wash my mouth out for talking dirty.

The taste reminds me there’s a fine line between what is acceptable and unacceptable, and how that fine line can sometimes come in the form of Irish Spring or Dove.

In her own way, my mom did me a favor. At least I didn’t grow up sounding like a drunken sailor with Tourette’s.

To honor my mom, I keep a sweet-talking spot beneath my tongue.

Rich Ferguson, Soap or No Soap

My father died today: the end of a very long, mostly happy, vigorous life. We were with him. I’m grateful for so much, relieved that his suffering was short, and yet still feel like a tree has fallen in the forest: it’s hard to imagine life without him being in it too. But of course, as long as I am alive, he will live in me.

Beth Adams, My Father. December 15, 1924 – August 22, 2022

I finally saw the hedgehog that has taken up residence under the holly bush. Leonard is curious, but fortunately, he hides behind my legs while he sniffs at the air from a safe distance. The creature’s not a hare, he knows that much. It makes me happy to know there’s a hedgehog here again. I can’t even begin to explain why. We will only catch glimpses of him in the half-dark for a few more months before he sleeps for the winter. But somehow knowing he is there… like a weird kind of vague promise of something good.

Unexamined hope.

I keep reminding myself that life is good right now. I am even learning not to brace myself for bad news when a message notification pops up on my phone. T. sends snaps of their new puppy swimming in a pond way up North. I can hear the splashing, and him and his wife laughing softly.

Ren Powell, Unexamined Hope

As a traveler, I understand;
you, a traveler, too, 
must travel, we must
say good-bye,
but a drop 
of radiance,
a grape
of imaginary sun,
has touched the blind blood 
of everyday…

—  Pablo Neruda, excerpt from “Ode to the Third Day”

Neruda, were you writing about a day of the week?  Or were you lamenting the end of summer, as I hear through the howl of my re-entry struggles?  You who understood all things, of course felt the keen sorrow of leaving behind life’s elements — gracious friends, groundedness, sea, sardines, openness.  To your odes, we sing along with sweet regret, knowing how lucky we are to touch those values.  Loss is the nature of the game!

Back at home, I am resolved to bring expansive “summer” — i.e. human values —  into what seems like our never-ending strife, conflict, struggle.  I’m modeling my plans after more balanced friends to 1) create the better world of our little garden rather than rail against the one that seems to loom, and 2) to bring lightness to the truth that we’re all flawed, to laugh rather than judge.  

Seems rather North American.  I prefer Neruda’s continuing language: “we will cherish/ this insurgent day,/ blazing,/ unforgettable,/ a bright flame/in the midst of dust and time.”

Jill Pearlman, A Drop of Radiance has Touched the Everyday

As I was getting ready to leave New York City last week, it occurred to me that much of the art I saw on my trip, from the Statue of Liberty to the majority of the art at the MOMA, was a response to oppression. I started thinking about what it means to live in an age when so much of the work of artists is a form of resistance. Of course, artists and poets have always functioned as truth-tellers, often to their peril, but the intensity and scale of the art I saw emphasized this fact to me in new and thought-provoking ways.

For example, on the Statue of Liberty tour, I learned that the statue was more than just “a gift from France to the people of the United States,” as I’d been told as a child. Its main purpose was to commemorate the end of slavery. Hidden at the statue’s base are broken chains, meant to symbolize the freeing of America’s enslaved people; the statue’s designer, Frederic Bartholdi, “originally designed Lady Liberty holding broken chains, but later deemed the explicit reference to slavery too controversial. Instead, a broken chain and shackles lie at the statue’s feet, delivering the abolitionist message more subtlety.” 

It’s beyond ironic that a statue celebrating the end of slavery had to be toned down. Our tour guide told us that Bartholdi took this action, at least in part, to appease wealthy donors whose money was crucial in paying for the statue.

The statue is also the site of one of the world’s most conspicuous displays of ekphrasis: Emma Lazarus’s poem, “The New Colossus,” printed at the statue’s base. Many phrases hit me as I read the poem, : “brazen giant,” “imprisoned lightning,” “world-wide welcome,” and of course, the famous lines about the tired, poor, the wretched refuse, homeless and “tempest-tost.” The poem asks the world for these “huddled masses,” indeed demands them. Not the wealthy, the educated, the strong and beautiful, but their polar opposites.

“The New Colossus” transformed the statue from its original purpose to “the role of unofficial greeter of incoming immigrants,” as New York journalist John T. Cunningham put it. On that windy dot of an island in the New York Harbor, I was profoundly moved, imagining boatload after boatload of immigrants being greeted by this gigantic Mother of Exiles, as Lazarus calls her, before they landed at Ellis Island. 

Erica Goss, Pictures & Words: My Visit to New York City

Paralyzed by her past, she can do nothing.
She sits on a rock and stares at the junction
of three rivers, this spot that Thomas Jefferson
declared the most beautiful in the New World.

The parents return to a field of calm.
Their boys have recruited other disaffected
children. They’ve created a game with inscrutable
rules. The parents discover that the boys have devoured
the best parts of the picnic. As the sun skips
west, they munch carrot sticks and apples as they watch
the children play, making up rules as they go along.

Kristin Berkey-Abbott, Harper’s Ferry and the Looming History

Summer’s heat is lingering here in Finland, but autumn is coming up fast. Cooler mornings, the birch turning gold overnight, geese starting to move on in long, noisy threads. My favourite season, but it’s always tinged here with the knowledge that winter won’t be far behind and will last too long. I should probably get out and do something in the nice weather while it lasts, but there are never enough hours in the weekend. […]

This week, I’ve also dealt with the recording the Helsinki Writers Group is doing for Helsinki Open Waves, liaising with the technician and the 3 other poets. I can’t wait to hear the final product, it sounded so cool even without embellishments, but the technician was going to try and add a soundscape behind our poems. 

We had a rough theme, Below the Surface, but we each went our own way with it. When we brought them together there were overlaps and echoes of each other’s work that we hadn’t planned or expected. It can be a repeated phrase or image or sound though all the poems’ subjects are very different. We shared our work briefly in the writing and editing stage and I find those chats often bring a poem to fruition. What you can’t quite reach alone is nurtured through sharing it with others. The group has a few poets now, after a long time of me being the only one and these collaborations are so much fun. 

Gerry Stewart, The Switch from Summer to Autumn

My son left this week for his senior year at college, which removed a handy barrier between me and working all the time. My writer self, my teaching self, and my role as Department Head are competing hardest for my hours. Teaching and chairing are more deadline-driven so my writer self is hanging on by her fingernails. She has grit, though.

What I’ve been writing during the past few weeks–it actually does have a deadline, Tuesday–is a column for the web platform of a scholarly journal. This longish piece concerns creative scholarship and has made vivid to me how fiercely creative writing and scholarly training are fighting in the colosseum of my brain. Seriously, I’ve published a book of creative criticism and other essays besides. You’d think I’d know how to argue for it by now, but I’m finding this piece very hard for reasons that may be emotional as well as logistical. I think the essay is clicking now, but it’s one of those subjects I had to write too much about before I could cut the thing back to a better version of itself. The throughline kept shifting and I kept finding other sources I wanted to consult. Both creative writers and scholars discover what they think by writing about it–despite animosity between the fields, they have more in common than not–but scholarship places a much higher value on reading all major statements on the subject so far. I think that’s what serious, curious writers should do, learning everything they can if they’re going to make some kind of beyond-the-personal pronouncement, but it’s also true that this assignment is an online column, not a full-fledged article. Sometimes you just have to stop.

Lesley Wheeler, Splitting / creative scholarship

Poet Sonia Greenfield shared on her Facebook page an essay written by Haley Mlotek, “Against August” (The Paris Review) and I think it’s pretty damn wonderful. Yes, August is well-planted within summer months, but it doesn’t carry the late-spring anticipation of May, the giddy affection of June, or the full-blown buzz and hum of July. In fact, my reply to Sonia’s thread consisted of this: August is to muck around in the mire of all least favorite things: summer’s end, teacher in-service, and rain, rain, and rain, at least here. I am especially keen on her borrow of a few lines by poet Marge Piercy to make her point about August. In her poem “Blue Tuesday in August,” Piercy writes,

The world smelled like a mattress you find
on the street and leave there,
or like a humid house reciting yesterday’s
dinner menu and the day before’s.

Perfect!

Kersten Christianson, Not Much Love for August

A thrill to be read so enthusiastically and perceptively by Shirley Geok-Lin Lim, one of the three judges of the Singapore Literature Prize English fiction category. She made her thoughts public on her FB page after the award ceremony was over. She has really good things to say too about my fellow nominees, Cyril Wong and Mallika Naguran.

“The Singapore Book Council celebration of the 2022 Prize winners for various genres in different languages was yesterday (Thursday), so I no longer feel bound to discreet silence as one of the three judges for the English Fiction Award. I wrote up my enthusiasm for three of the 33 novels and short story collections mailed to me, and include them here, to share with their readers!

“Jee Leong Koh’s Snow at 5 P.M.: Translations of an Insignificant Japanese Poet

Jee Leong Koh’s Snow at 5 P.M. may be Singapore first global novel. It is multi-genre, with 107 haiku introducing many of the prose passages. Set chiefly in contemporary Manhattan, with Central Park as the jewel in the setting, the fiction flashes off and on, like red warning signals, to a futuristic climate-changed Singapore Island and planet. The novel is multi-civilizational, the protagonist-narrator being a diasporic Singaporean living in New York City, in quest of his speculative protagonist, a Japanese poet immigrant to the same American territory. The novel is a mash-up of sub-genres. It is a mystery story, puzzling a missing poet known only through the half-burnt sheaves of haiku left in the apartment the narrator has moved into. The fiction is thickened, like Herman Melville’s Moby Dick’s whaling information, with empirical botanical knowledge that offers a different discursive dimension to the haiku images of flora and fauna. Asian American scholarship and displays of literary erudition are scored with erotic gay intimacies. Multitudinous digressive language plays, sub-characters’ lineages and histories, suggest unities in the tradition of Joycean epic works. Snow at 5 p.m.’s hybrid literary traditions, genres and sub-genres, generating complex threads, each digressing and spinning other threads, achieve a tour de force, a globalized Singapore imaginary that dazzles.”

Jee Leong Koh, SNOW AT 5 PM Won the Singapore Literature Prize

Susan Glickman is an artist of words and brush. She paints, edits, teaches and writes many genres: fiction, essays of literary history, non-fiction, children’s books and poetry. She has won a whack of awards for her writing. (I can’t believe her fabulous collection from Vehicule The Smooth Yarrow is already a decade ago. Time to reread.)

PP: Susan, what have you read lately that lit you up? 

SG: In addition to my typical diet of poetry (recently a lot of Jane Hirshfield as well as Dionne Brand, Dorianne Lux, and John Steffler), and historical fiction such as Lauren Groff’s magnificent novel Matrix, I have been reading a fair bit of sci-fi and sci-fact. The former includes a deep dive into Ursula Le Guin as well as more contemporary stuff like Emily St. John Mandel’s Sea of Tranquility, the fabulous time-travel novels of Connie Willis, and Anthony Doerr’s Cloud Cuckoo Land, the latter inspiring books such as Sy Montgomery’s The Soul of an Octopus, Charles Foster’s Being a Beast, and Carl Safina’s Becoming Wild.

PP: Well, my reading list just got a longer. Those last two in particular. I’ve heard very good things about Sea of Tranquility and The Soul of an Octopus was great. Can you add a why or how for the shoutout?

SG: I’m overcome with grief at how humanity has abused this planet. I am seeking a better understanding of other creatures as well as paradigms of alternate ways to live.

Pearl Pirie, Checking In: With Susan Glickman

I’m tired, physically and mentally–a lot on my mind these days–and I feared I was tired of poetry, but, no. Early this morning, I picked up Break the Glass, by Jean Valentine (Copper Canyon Press, 2010), and could not put it down. The poems felt both fragmentary and liquidy, like pieces floating or somehow flowing…with little punctuation to stop the flow. That body of water [on the cover] with bodies in it, which looks like people standing, is an installation in Germany by Antony Gormley, called Another Place (1997, cast iron/100 elements), photographed by Helmut Kunde. The poems dropped me in another time and place, some celebrating Lucy, that early hominid, and who knew I’d find the coincidence of the word Australopithecus in three books this August, two books of poetry and one about teeth.

Kathleen Kirk, Break the Glass

The narrative [CJ] Evans writes across the seventy stanzas, each five lines in length, of “TRYING TO HEAR A HYMN TO LIFE” loop and swirl around a variety of images of wetlands and Lake Merritt, resting in the centre of Oakland, California, the Simon and Garfunkle song “America,” the memory of Sandy Hook, his daughter’s imaginary sabertooth, “Toothy,” and other family moments, connections, memories, dislocations and trauma, all wrapped up and around not only a belief in life itself, but the very act of that particular brand of faith. “I can’t see the lake from here,” he writes, early on in the poem, “but I believe / it still is. Just as I believe in the shellmounds / I’ll never see, the sabertooth, that the flat moon / is actually a sphere. I believe as I do / in this tabletop you can’t touch: wood pulp crushed // in a hydraulic press with glue.” Or later on in the same poem, offering: “I believe in this as much as god / or biology, which is to say, a bit less // than to make a bet with it against a bullet, / but enough. I call it belief, but it’s purposefully, / wondrously unexamined.” There is such a stunning beauty to this collection, one that shows itself as open-hearted while playing rather close to what might suggest a deeply-wounded chest. This is what one might call a darkly optimistic book; one filled with as much beauty as one can muster, and everything one can see after having been in the dark.

rob mclennan, CJ Evans, LIVES

The fig’s branches lean closer to the ground
exhausted from all their summer bearing

My tongue fingers the space where
a cracked tooth used to be

I thought the potted Buddha’s hand citrus
given by a friend had perished in winter

But here it is pushing out its signature
green laddered with fresh new thorns

Luisa A. Igloria, On the Cusp

On Saturday, fellow poets Ian Parks, Simon Beech, Tracy Day Dawson and I walked the route of Ted Hughes’s paper round up from Mexborough to Old Denaby, as described here. Ian, born and brought up in Mexborough, led us on the route which took in the former newsagent’s where Hughes and his family lived from 1938.

At the right-hand-side of the shop is Hughes’s bedroom window overlooking what was a slaughter-yard back then. It inspired his gruesome poem ‘View of a Pig’, published in his second collection, Lupercal (1960). Like most, if not all, English children of my generation, I studied the poems of Hughes more than anyone else’s, except perhaps Owen and Sassoon, and it was the earthier, meatier poems like this one, and ‘Pike’, also from Lupercal, which we read the most. The poem’s last two lines – with the perfectly-judged anaphora, alliteration and simile – ring across the years from an England long-gone:

I stared at it a long time. They were going to scald it,
Scald it and scour it like a doorstep.
 

The route took in the possible setting of ‘Pike’:

A pond I fished, fifty yards across,
Whose lilies and muscular tench
Had outlasted every visible stone
Of the monastery that planted them—

Stilled legendary depths:
It was as deep as England. It held
Pike too immense to stir, so immense and old


The route took in Manor Farm, where Hughes went trapping and shooting with his brother. It’s the setting of his poem, ‘Sunstroke’, again in Lupercal:

Reek of paraffin oil and creosote
Swabbing my lungs doctored me back

Laid on a sack in the great-beamed engine-shed.
I drank at stone, at iron of plough and harrow
[. . .]

I should add that Ian has a wonderful poem published today over at Black Nore Review, here, and I’m looking forward to hearing Ian read at Mexborough Library this Wednesday.

Matthew Paul, On Ted Hughes

This morning, as I was lying in bed, half awake and trying to decide if I should just start the day or sleep another couple of hours,  I found myself thinking about words and media, about literature and books and all the ways we take in information now.  Also the nature of that information, particularly when it seems all is possible and there is an outlet for everyone. How it can be misused and handled badly.  How the good has a sturdy platform, but also the bad. 

When I was a teenager and young adult, the world touted the danger of televisions..of the downfall of reading and literate culture. It seemed inevitable.  Even among people my age, not all were readers, which was strange to me, having had books in my hand since before I even understood what was in them.  The same child who scribbled in notebooks and said I was writing when I barely knew the alphabet. The Mother Goose volume I carried around until it fell apart despite not being able to do much beyond read the pictures to discern the story unless I convinced my mother to read it to me.

My parents, especially my dad, who were only high school graduates, were still readers.  My mom liked stories and painting, but her reading was mostly magazines. Still, words were something always available in some form. Whether it was mags and novels passed off from my aunt (one of the most prolific readers in the family) or our weekly trips to the library, books were just always present.  My dad read the newspaper daily, and books about everything–not just novels. No one read poetry of course,  or maybe even knew people were writing it, but words in general were not foreign. I only learned about poems in junior high and high school, though it depends on what you consider poems. We all fought over Shel Silverstein books in the 5th grade, so maybe I guess I just didn’t think of them as poems but rhymes. Poets were like unicorns and outside of some teens who wrote poems and professor, I didn’t see a real poet until my second year of undergrad (in some weird confluence of stars,  I later got to publish her.)

Kristy Bowen, words and the world

“Violet Existence” explores issues of class, sexism and imposter syndrome, a sense of being the outsider and not being fully seen. Katy Wareham Morris captures the maternal voice: protective of her children but wary of a society that holds mothers up to an impossible ideal. The poems open to a vulnerability as they spill across the page, presenting contemporary situations with a promise not to raid the myth kitty or assume readers have a knowledge of Greek myths.

Emma Lee, “Violet Existence” Katy Wareham Morris (Broken Sleep) – book review

The typewriter is a recurring theme here and it seems that I’m overdue on sharing some poems about them, about the act of typing, and the music of typing. I love how Clarice Lispector and Annie Dillard and May Sarton wrote about typewriters and typing in their prose and I’ve shared some of their words in a post titled My Most Intimate Friend.

The first poem is by Charles Simic who I’m beautifully indebted to because he allowed me to use his poem “In the Library” in my novel, Everything Affects Everyone. His poem strikes upon the both-ness of delight and dark despair that it’s possible to feel these days.

Next is Australian poet, David Malouf’s poem about grasshoppers and the music they make — you can just hear the typewriter sounds as you read. The poem by Matthew Francis immediately caught my eye because he talks about a blue Smith Corona, which is what you see in my photograph. Adam Zagajewski’s poem is a self-portrait that begins with an image of his writing implements and goes on from there. But honestly, I’ll always share an AZ poem even if it only loosely fits the theme. The final poem is quite shamelessly, my own. It’s also the shortest piece I’ve ever written. I’ve shared it around a fair bit since my book came out and is probably one of those things that I like a lot more than anyone else, but that’s okay! It’s about typing rather than typewriters, but I think still works in this grouping. Which I hope you enjoy!

Shawna Lemay, 5 Poems about Typewriters

What do you feel poetry can accomplish that other forms can’t?

I should say first that I appreciate the use of the term form over the term genre. I find genre largely pointless—recently a brilliant friend of mine told me, If you want to write poems, write poems. If you want to sell poems, call them stories. I’m getting away from form.

Poetry as a form is fundamentally limber. It is a form that attempts to undermine categories of form. Poetry collects, but it does not horde. It is a form of accumulation which constantly is compelled to let go of itself. 

I have a deep respect for other forms, other disciplines—they are hard. I don’t wish to say that there is anything that they cannot do. Questions of formal capacity do not seem to me like questions related to Can it? but rather questions related to Is it willing? Poetry is willing. Poetry is always willing. 

Thomas Whyte, Evan Williams : part five

Today, Elee sent me a line she thought might be good in a poem.
“I no longer consider it necessary to find alternatives to harmony.”

Earlier, my friend Donato suggested I try writing a triolet.
So it was good that Elee sent the line—it’s true: it’d be good in a poem.

The line is a quote from the composer John Cage.
And it’s hard not think how it might apply to everything.

For instance, it’d be harmonious to end with Elee’s good-in-a-poem line:
“I no longer consider it necessary to find alternatives to harmony.”

Gary Barwin, Alternatives to Harmony: TRIOLET with CAGE refrain

As someone who has been entranced not only by the otherworldly song of the seals, but also by the author’s skilful dexterity as a poet, Where the Seals Sing fascinated me from the outset. I delighted in the Pembrokeshire seal-watching cameos and the small but memorable details of the natural world, such as the fragrance of the Elderflowers encountered along the coast. The sections on music and mythology were intriguing. Sadly, but not surprisingly, the reports of cruelty, pollution and plastic were often devastating. I was totally captivated by Susan’s engaging affection for, and whole-hearted dedication to, her Grey Seal subjects. I would love to think that some of her zeal and practical actions might inspire us all to play our part in these uncertain ecological times.

Caroline Gill, ‘Where the Seals Sing’ by Susan Richardson

I recalled a visit in 1984 to Goodrich Castle in Ross on Wye, Herefordshire, England, where we did just that–dropped a small stone into the well–and waited what seemed a long time for the sound to reach us. From what I understand, tourists can’t do that anymore; the National Historic Trust has upgraded the ruins to make them safer to visit. The tourist board doesn’t want anyone falling down wells.

But I digress. I meant the metaphor to apply to how writers listen eagerly for response to their work once it is published. Will anyone review it? Will anyone read the review? Will anyone post about it on social media? Will anyone contact the writer to say those words we want to hear: “I love your book!” –?

Sometimes, yes. And for those who have done so already, a million thanks.

Ann E. Michael, Pebble in the well

I was talking to my family about the careful balance of re-entering the world after two and a half years of basically living in a bubble. Tomorrow, I’m having over a poet friend and I’m looking forward to making friends at our new Woodinville book club at J. Bookwalters. But I have to be careful – I still haven’t gotten covid, though I have friends who are getting it for the first time and family who are getting it the second and third time. I’ve been talking about re-entering the working world a bit more, with my MS vocational therapist, talking about setting limits and boundaries, balancing my ambition and physical limits. I’m cautiously optimistic, I guess – and hoping to stay healthy enough for AWP in Seattle and my April book launch.

But how do we know what’s safe, with the confusing and often contradictory guidelines about covid, and is life ever really safe for those of us who are immune compromised? I nearly died from complications of pneumonia from the swine flu and people barely made a big deal of it of swine flu. I think about how the pandemic will affect art for the years to come – and artists who’ve suffered from complications of covid – the way the 1918 flu affected art and artists. Will people want to read, or see art, or hear music about the experiences of loss, isolation, and anxiety that came with this pandemic? Will people want to stamp out the last few years in denial?  Americans don’t like dealing with death, and they certainly don’t like dealing with mass death.

As the summer seems to be drawing to a close, and people are talking about a fall rise in covid cases, new variants, new vaccines and how well they might work, I am looking forward to the natural increase in writing energy I get when it gets a little cooler – the “back to school” feeling that never really goes away.

Jeannine Hall Gailey, More Sunflowers and Dahlias in Late August, Thinking About the Balance of Re-Entry and the Effects of the Pandemic on Art and Artists, and What’s on the Horizon

outside the dentist
gaps in the autumn trees

the numbing of time

Jim Young [no title]

Forever Young
For CB

on my birthday
I light a candle

and watch it burn
down to the dark

this is no time for wishes
time has no hold on you

Ama Bolton, Forever young

Poetry Blog Digest 2022, Week 30

Poetry Blogging Network

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, it’s the anarchist cafe. Pull up a chair and settle in.


Anarchists should open cafes.
Spill the ill-assorted chairs
and tables onto the pavement.
Go heavy with the red paprika,
shower down the black pepper.
Have trans and Roma waiters
to glide between the tables,
taking orders couched as poems.

Dick Jones, THE ANARCHIST CAFÉ

The apple, small on the table, easily overlooked, will be affected by the wheel of time faster than the desk.

And are we not the apple? Is his sculpture too approaching this idea of temporality? His lean figures are more like their own shadows, elongated in a lowering sun, or thinning and thinning down so by the next step they may disappear, the walkers.

Marilyn McCabe, Leaping and hopping; or, On Ways of Seeing

We did not think of it
as not having a real body
or the body being a stick
the head was rubber, and it rode.
Mine was called Silver before I knew what it meant.

It takes time to understand what time does
to people and things. It takes time
to learn to look back and grasp what it all meant.
The lizards contemplated our journeys
and the tree house was the jail.

Ernesto Priego, 6. El caballito

I wish I could say that I spent my time improving myself but nope! Just trying desperately to keep myself and my poor garden alive. (Hydration is very important for flowers AND humans, it turns out, in this kind of heat, as I was reminded by the ER doc before he put an IV liter of fluids in me.)

Jeannine Hall Gailey, A Week of Heat Waves, Bad Air, Sunflowers, and ER Visits

sometimes
at night perhaps
a poem can slip through your fingers
vanish
back to wherever it came from
all you are left with
is a page of used ink

Paul Tobin, A PAGE OF USED INK

You will be trying to name that song the cicadas keep spinning — drone, chant — and might fall into an inspired trance. There are flies on your ankles and the slow swirling scent of the time or its demise, of memories you’ve had or never had, of something tantalizing—

Jill Pearlman, Noon Justice

each page talks to the next
the blueness
sinking back into the landscape

Ama Bolton, ABCD July 2022

For Strange Ladies, I realized that during the past 45 years I’ve written enough oddly interesting straggler poems about/in the voices of/relating to female “characters” of a mythopoetic variety that they might form a coven. Or at very least, a neighborhood. The strangeness of these women comes from their position as outsiders, exiles, shamans, rebels, goddesses, myths, heroines. A chapbook manuscript materialized, and what surprises me most about this collection is that the poems I ended up choosing date all the way back to some of the first poems I ever got into print. At that time (circa 1981), indie-lit mags were photocopied, stapled affairs often using collages of copyright-free art for graphics. My nostalgia about that era led me to go for a retro look on the cover. And yes, I wrote one of these poems in 1979 while living in New York City…but others are as recent as 2019. A span of 40 years, and yet they seem to belong together in their differences.

Ann E. Michael, Why so strange?

as if
the agony of our bodies betraying us
weren’t enough

now 
we might be blamed for feticide
we might be jailed

hemorrhaging
we might have to beg the pharmacist for drugs 
they still might say “I can’t help you” 

Rachel Barenblat, Choice

Never underestimate either the strength or fragility
of power—what ticks quietly all these years beneath

the walls, one day also buckles from the load
it’s made to carry. Between circuits, a current

falters. A bulb goes out, and quiet spreads through
a house in which all the machines have mysteriously

hummed themselves to sleep.

Luisa A. Igloria, The Myth of Permanent Faults

My advice to everyone this summer has been to enjoy summer, enjoy what you’ve got, soak up the sun. Especially if you live at latitude 53 which is where I am, because we all know how sparse the sun is at other times of the year. I know very few people who haven’t had a rough time this past year. A lot of stuff has just really sucked. I recently had a really big laugh when I backed my car into a pole after a particularly not great day where I guess I was having what we will call “a moment.” It’s fine. But who can afford to fix things these days? I need therapy from my therapy but who can afford that either? Other stuff currently is a priority. So like regular people, I just get my therapy from books and poetry and from playing Sheryl Crow and Bruce Springsteen extremely loud in my now banged up car. I’m good, you know?

Shawna Lemay, It’s Not Having What You Want

how senseless ‬
‪when bowing to each other ‬
‪we bump heads‬

Jim Young [no title]

Things sometimes need to be said plainly in poetry. But my pen tends toward curvature. It wants line breaks and metaphors, sometimes rhythm or even rhyme. I’m thinking about how you can say a thing with those curves while buffing its essentials to a clarity that can’t be mistaken. This poem burst into being recently, got some polishing, some additions, and probably will evolve. So I won’t send it out for publishing. I’ll post it here, in my blog, as an experiment. Here I can let my poetry keep morphing. I plan on posting  poems here, though I realize by doing so I remove the top layer of the onion of my copyrights (thankyou, literary lawyer, for that metaphor). Sometimes partnering with a zine or litmag is great. Today, I need to speak. Plain and curvy.

Rachel Dacus, What I Know

While there are many things (many) I’d like to take on, I think that realistically I can only keep up with 2 or 3 things Well at a time. For example, this fall my adjunct schedule is pretty full, and I’m homeschooling, and want to continue my poetry writing, so that pretty much fills up my time with what I can do well.

What this means for me is that I can’t also volunteer to start reading poetry submissions for a journal, or start up a book club for homeschoolers, or join a committee. It also means giving some things up to make those things a priority.

Renee Emerson, choosing 2 or 3 focus activities

Scarlet: the mac defining a news reporter’s back, hunched
at the front of a vast crowd flailed by rain, waiting hours
for Amelia Earhart’s arrival at Hanworth Air Park, May ’32;

conception month of my parents, who grew up to nurture
such tasty Moneymaker tomatoes, lining them up to redden
on the south-facing window-sill, behind the kitchen sink.

Matthew Paul, On Sickert

The poems in APOTHEGMS are short, and lean into koans, the short snap of expectation and quiet words placed after another, with an intimacy that allows the dates to become an essential element of small moments that are clearly crafted, while still allowing a sense of immediacy. He writes of time, and the immediacy of it; referencing haiku and the moment in which he is standing, no matter the distance of temporality between thought and composition. Think of the poem “URBANESQUE,” composed from his home-base of Mountain, Ontario “2021-10-04,” that reads: “The tiny / tea bag / plate // in my / cupboard / takes // up more / real / estate // than the / tall / glass // standing / next / to it [.]” In certain ways, the only differences between the accretions of Hogg’s longer poems and these short, near-bursts is a sense of scale: the shorter pieces included here still allowing for a kind of accretion, but one set with a particular kind of boundary. The larger accretion, one might suggest, might be the very assemblage of these poems into a chapbook-length manuscript. […]

Hogg connects time to the physical, and the physical to the body. There’s a way he’s attentive to both physicality and natural spaces, in part, one would think, through his time as a kid on a farm in the Cariboo, or his decades farming a space just south of Ottawa. With references to poets Lorine Niedecker, H.D. and Daphne Marlatt, Hogg doesn’t have to describe the landscape to allow for its presence; as Creeley attended the immediate, and his sense of the “domestic,” so too with Robert Hogg, attending his immediate, whether memory or at that precise moment, and a “domestic” that concerns the landscape, both internal and external.

rob mclennan, Robert Hogg, APOTHEGMS

they held a brush
& painted until
the sky went dark

Jason Crane, haiku: 25 July 2022

Earlier this month, our family went on a little road trip through BC and Alberta. One of my favourite parts (behind only the water slides, mini-golf and dinosaur bones) was visiting book stores.

If you find yourself making a similar trip, here are three you shouldn’t miss:

First up is Baker’s Books in Hope, a used bookstore where every book is $2! They have a small but mighty poetry section, and a strong selection of rare poetry books at the back (they cost a bit more). Always worth a stop at the beginning of a road trip.

Another bookstore I’m always sure to visit is The Book Shop in Penticton. With over 5,000 square feet of floor space, it’s one of Canada’s largest. This time I counted 28 shelves of poetry, ten of which were Canadian (including Laura Farina’s Some Talk of Being Human, photographed here). 

My tour of Alberta bookstores was truncated by our skirting around Calgary to avoid Stampede madness (and to spend more time hunting dinosaur bones), but I made sure we popped in to Glass Bookshop in Edmonton. Founded by poets Jason Purcell and Matthew Stepanic, it’s an absolute heaven for poetry fans.

Right at the front entrance you’re greeted by this fantastic array of (mostly poetry) chapbooks. [photo]

And inside – boom! – eight shelves of brand new poetry, largely from Canada and the US. It doesn’t get any better than this.

Rob Taylor, BC/AB Road Trip Report

This past July I spent two weeks in the Zhejiang mountain village of Chenjiapu translating a set of poems by the Nanjing-based poet Sun Dong. She was able to join me for a few days toward the end of the residency, and we worked together on drafts of the translations. I worked out drafts of two dozen poems and the preface to her most recent book, Broken Crow (破乌鸦 Pò wūyā), and published eight of the poems along with an essay — “Meditations in an Emergency: The Cosmopolitan, the Quotidian, and the Anthropocene Turn in Sun Dong’s 2020 Pandemic Poetry” — on the experience and on Sun Dong’s poems. The goal: a book-length collection of her work.

David Perry, Meditations in an Emergency: The Cosmopolitan, the Quotidian, and the Anthropocene Turn in Sun Dong’s 2020 Pandemic Poetry

SALA is Australia’s largest and most inclusive visual arts festival, which takes place in galleries and non-traditional arts spaces across South Australia annually, during the entire month of August. Each year, around 8,000 emerging, mid-career and established South Australian artists exhibit in more 500 venues across the state, from sheds, cafés, offices and retail spaces to wineries, schools, public spaces, galleries, major arts institutions and on-line events.

For SALA 2022, I have compiled a collection of my recent videos that explore the unreliable interactions between visual perception and language. In a world of artificial intelligence, what is real? In a multi-lingual society, whose voices do we hear? When language begins to fragment, where do we find meaningful narrative?

I also have an on-line artist talk in which I explain some of the techniques involved in making one of my most successful collaborations, The Life We Live Is Not Life Itself. You will also find links to recent articles I have written about my creative process, the role of translation in video poetry, and how narrative works in short form video.

Ian Gibbins, SALA 2022: The Life We Live…

I have done a lot of self-improvement work through the years, and progress has never–NEVER–felt as microscopic as my wrist healing has been.  But let me remind myself that 13 weeks ago, when I had to hold my arm at a certain angle away to have the splint put on, I thought I might throw up or pass out from the pain.  Now I can turn my arm that way with discomfort, not pain.  When I first had the cast off in late June, I couldn’t hold a metal set of tongs in my hand and pick up objects.  When I tried, I felt a searing pain down my arm.  A month later, when I did an exit exam for my hand therapist, I could do the exercise with some minimal pain.

Last night, we played Yahtzee, and I was able to roll the dice with my right hand.  I can still roll the dice better with my left hand, but it’s progress.  Likewise with using utensils:  I can get the food to my mouth, but it’s still a bit easier with my left hand.

This morning, I wrote a poem the way I once wrote poems:  by hand, on a purple legal pad.  I had started composing it as I walked yesterday morning.  I was thinking of all the ways our fathers had taught us to leave:  how to pack a suitcase, how to pack a box, how to load the moving van.  I thought about the way that grandmothers teach us to stay:  which plants we can eat and how to transform scraps into the comfort of quilts.  Then I wondered if this gendering was fair.  I wrote the poem that begins “They taught us how to pack” and the second stanza “They taught us how to grow.”  I like it better.

I have experimented with writing poems by using voice dictation into the computer, but I like writing on the legal pad better.  Still, it’s good to remember that I have options.  I don’t think that the content of my poems changed radically with the writing process.  For poems, I don’t think I even wrote any faster, as I do when I’m writing prose.  When I’m using the computer, I still prefer to type.  I make fewer errors.

Kristin Berkey-Abbott, Wrist Update: Fifteen Weeks After Break

As I round the bend on the GRANATA project, I find myself debating the book’s point-of-view.  I initially fully intended to use first person, and the first 10 or so poems are written with an “I” narrative.  Slowly, it began to slip, and my much favored “you” slipped in–the second person I favor so often over anything else these past years, not so much a conscious decision, but a go-to. I like the second person since the poems have a persona-like poem feel without actually taking on the limited persona of the “I” voice. Lately, the daily poems are “you” driven, and if they stay that way, I will probably just give over to the majority, partly because obviously I want them that way, partially became oy, the edits.  

Guidelines for the heroic/heroinic epic I intend would probably have me doing third person.  Odysseus, for example does not tell his own story, but relies on Homer to do it for him. Maybe second person is a good compromise here, and something I reach for in my poetic bag of tricks far more often than the third or first person.  If I do use first, it’s far more often a “we” rather an “I.”

Kristy Bowen, persephone speaks

Joanna Fuhrman is the author of six books of poetry, including To a New Era (Hanging Loose Press, 2021), The Year of Yellow Butterflies (Hanging Loose Press, 2015) and Pageant (Alice James Books, 2009). Her poetry videos have appeared in Triquarterly, Moving Poems Journal, Fence Digital, Posit and other online journals, as well as on her own Vimeo page. She lives in Brooklyn and teaches poetry and multimedia writing at Rutgers University in New Brunswick. For more see: Joannafuhrman.com

What are you working on?

I’m finishing a book of prose poetry called Data Mind about how it feels to live life online as a non-digital native. My generation entered the internet era with a lot of optimism about what online life might offer us, so it’s been painful to watch how social media has exacerbated the problems in our quasi-democracy/necrocapitalist economy. As someone who loves social media, I am trying to capture my own ambivalence. Some of the poems use the tropes of digital life to look back at pop culture from the past.  

I’m also working on a different book of poetry, mainly about my mom’s death, called The Last Phone Booth in the World. The prose poem manuscript is dense and surreal, while the newer manuscript feels more magical realist and dreamlike. I’m also hoping to get back into making poetry videos. 

Thomas Whyte, Joanna Fuhrman : part one

My review of Christopher James’ new pamphlet, The Storm in the Piano (Maytree Press, 2022), is up today at The Friday Poem. You can read it in full at this link, but here’s a short extract as a taster
Whether using the first or third person, the poet stands far further behind these poems than is common these days, thus avoiding any temptation to conflate the poet and the narrator. Dramatic set piece after dramatic set piece, Christopher James invites us into his vast array of worlds via an aesthetic approach that feels pretty much unique in the context of contemporary UK poetry.

In a juster world, Christopher James’ books books would sell in thousands…

Matthew Stewart, Christopher James’ The Storm in the Piano

“From this Soil” is a compassionate look at how family roots nourish and shape us. Casey Bailey’s poems are self-aware, conversational in tone and humorous, inviting readers to laugh with, not at, their subjects. The characters are recognisable and the pamphlet shares their lives, like striking up a conversation with someone you’ve sat next to in a pub or cafe and discovering how much in common you have.

Emma Lee, “From This Soil” Casey Bailey (The Broken Spine) – book review

This summer, as my day job eased its clutches for a while, I’ve been thinking about time in relation to book publicity and reception. For me, the main pleasure of a review is hearing from a reader: I worked for a decade, put the book out there, and wow, someone was moved to answer! Further, although I’ve been lucky in magazine reviews for all my books, I am receiving more backchanneled notes about Poetry’s Possible Worlds than I ever have about poetry collections. I wonder if it’s a genre thing. Poetry gets pretty personal, too, but most people are less confident responding to it. Or is Poetry’s Possible Worlds simply my best book? Part of the difference is almost certainly due to hiring a publicist for the first time. Yet, like most people, I can’t see the big picture when it comes to my own career.

Maybe this sounds paradoxical, but it was actually more emotional than lucrative for me to see Poetry’s Possible Worlds on the Small Press Distribution May-June top 10 bestseller list for nonfiction. It’s gone to a second printing!!–the first time that’s happened for me anywhere near this fast. We’re not talking huge numbers; this is small press stuff, remember. But it means that a boatload of work has made some difference: organizing events, pitching op-eds, querying podcasts, biweekly Zoom strategy meetings with Heather Brown, and more. Many authors fight hard for a couple of sales here and there, whether they publish with indies or the Big Four; every famous author I’ve ever talked to can describe traveling for miles to give a reading to two people. Even a little success makes me feel less discouraged about all that effort, though–less mystified, more philosophical.

Lesley Wheeler, Broadside giveaway, reviews, & long views

My delirious state has meant I’ve not read much this week. I’ve not really watched much TV either, although I did finish all 6 hours of Get Back, The Beatles’ doc on Disney+. I loved it, aside from it foreshadowing what we know is about to happen, it serves as a wonderful doc about creative process and working through things to get at the “final” version. I feel less bad about the million drafts for Trajectory (or anything else) as a result. It’s lovely to see the craft and the magic happening before our eyes, and it really is the craft and the magic in that order. Paul conjuring Get Back from the ether is a beautiful moment, but the hours of versions that follow to get it done are more instructive, but I digress.

Mat Riches, Get(ting) Back (To Fitness)

For four days, I couldn’t do much of anything without acute pain. I spent most of my hours in bed, flat on my back, longing for my ordinary, everyday life. All I wanted was to throw a load of clothes in the washing machine, run to the store to pick up food for dinner, water my flowers, wipe down the kitchen cabinets. I craved these things, the ways I have of keeping order, making beauty, caring for myself and others.

What a gift, to see how much there is to love about simply existing in our bruised, broken, shattering world.

Rita Ott Ramstad, Things I didn’t know I loved until I couldn’t do them

Paddy fields line both sides of the highway. I stop to watch the white egrets poke around in the water. The roar of the irrigation pump, the outlines of tractors and bullock-drawn ploughs, the bent backs of toiling farmers, kingfishers and drongos perched on overhead wires, large statues of village protector-deities — fierce warriors watching over people and livestock and crops, the romance of pastoral deliberation, the aroma of frothing cups of filter coffee, life as I know it fading into the distance…I can understand how this moment contains everything that came before it. And everything that is yet to come. What matters, what can wait, what we need to do, what is beyond us. That truth has never changed. In all this time. Time that knows it all.

swinging from the branch
of a tamarind tree
the chain from an old tyre-swing

Rajani Radhakrishnan, Within it, the stillness

Poetry Blog Digest 2022, Week 26

Poetry Blogging Network

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: slowing down, going on holiday or hiatus, digging into summer reading, processing our terrible politics, and much more. Enjoy.


Somehow, in the middle of this, we writers sit at our desks, close our doors, real and imagined, sip our beverages, turn up to the empty page. Some days the garden is awash with rain, sometimes you notice a flower you never knew was there.

Josephine Corcoran, An awful lot of waiting to hear

My new chapbook, The Commonplace Misfortunes of Everyday Plants will be available through Belle Point Press in late 2022/early 2023!

I’m excited to be working with Belle Point because they are focused on the Mid-South, land of my birth, and no matter how many years I sojourn in the Midwest, I feel that I’m a Southerner at heart.

And the Mid-South produces a different kind of poetry–when I read another poet from Memphis, I can hear the Memphis all over those poems.

You can read one of the poems from the chapbook, Backyard Sabbath, on Bracken Magazine.

Renee Emerson, The Commonplace Misfortunes of Everyday Plants

But the life-changing magic of tidying up, as a title and an activity, is delightful. I read it to the end, doing little bits (which Marie Kondo might shake her head at, advocating a big bunch of work all at once) as I went, and the sort-of spiritual aspect of it, at the end, rang true. I do feel lighter and freer any time I truly get my house in order, and will do the whole thing now, though at my own pace, this summer. Her order of discarding is clothes (done!), books, papers, and miscellany.

Yesterday was books. As you can imagine, 1) I have a lot 2) I am exhausted. But now 1) rested and 2) lighter! I finally discarded many literature textbooks that I can’t donate anywhere (no one wants textbooks, especially outdated ones) that I had been saving for sentimental reasons (notes inside + I taught from them) and because I wanted to be able to locate again a particular short story or essay. Surely, I can find most things somewhere, yes?! Internet, library. I recycled many paperbacks and created a bag of library-worthy donations. I put some things in the Little Free Library in front of my house. I now have room on my shelves for other books! Wait, that might not be the Marie Kondo goal! Fear not. These other books are already here, in various stacks, and will go onto the shelves when I have finished reading them and/or sorting them by type. It was fun to rearrange by size and type, and to re-alphabetize where needed. And to dust.

Today, by contrast, will be a Slattern Day–a walk to church, some time in the garden (or reading outdoors), a card game with my folks, and a cookout today because it might rain tomorrow. Happy 4th of July! I feel free!–though not in all ways…but I found support and comfort with that (the recent Supreme Court ruling/s) yesterday, thanks to a Zoom workshop with women, hosted by poet cin salach, Our Hearts Cannot Be Overturned.

Kathleen Kirk, Shoes I Forgot

It’s not the wanting
but the having

that weighs on us,
the old monk said.

Tom Montag, THREE OLD MONK POEMS (238)

It was the dying of the light of my time on Twitter. Days when I miss it, I think of the image of this poem, posted by someone whom I had just started to follow in an effort to persuade myself that the tiny bits of light seeping through the cracks were worth staying for. I even went to the effort of printing it off, sadly now lost.

I remember reading it in a kind of churched hush, my breath held, not quite able to take in everything that the poem was saying (and it was saying a lot), propelled forward at the same time by the desire to know more of this way of saying (singing?) that was new to me.

It was a sonnet, I got that quickly. But I had to keep rereading to get the syntactical sense right in my head. Those amazing opening four lines. Then a bit of a rest, declarative and verbless sentences followed by the long outburst of lines 9-13, the chief word of which, as in the poem as a whole, is that tiny time-bomb, ‘or’. It is the motor of the poem, a kind of anti-and, piling on observed details of passion, grief and finally death that accumulate and take the breath away in the effort to keep up. Say them out loud. They were written to be said out loud.

Anthony Wilson, Lifesaving Lines: “Still Do I Keep My Look, My Identity…”, by Gwendolyn Brooks

I have always felt such gratitude to those people in my life who have been supportive, especially other writers and creatives who ‘send the elevator down’. There are so many people who don’t, who pull the ladder up behind them. Which leads me on to the title of this post. I don’t intend on reviewing every book I read, (you can see a list of all the books I’ve read on my twitter feed if you so desire – follow this link) and this isn’t really a review in a traditional sense, but I thought it might be nice to share some of the books I’ve read that have helped me in one way or another, especially in my slow journey to self as writer.

I picked Manifesto up on a recommendation from another writer, but for the life of me I can’t remember who recommended it. So thank you, mystery book lover. I’m always on the look out for writers talking about their own journeys. I feel I’ve learned more from creating my own reading list, exploring the art, auto biographies and essays and examining the lived experiences of other writers, than I did in my MA. Although I don’t regret doing any of my degrees, I do feel there is a great deal of value and growth in finding your own way too. I’d loved Girl, Woman, Other, Evaristo’s Booker Prize winning novel. The novel was non traditional in terms of structure and style and I found this fascinating. I wanted to know what drove Evaristo’s choices, where she’d come from and what she had to say about writing and the writing world. I’m pleased to say I found Manifesto both fascinating and surprising.

Manifesto is a book that spans different genres. It does its own thing, it is not simply autobiographical, it is more than that. It is a set of sign posts, but it is also not a guide, in the traditional sense. It’s the story of how this extraordinary woman worked towards goals she set herself, how she learned from her own transitional stages, how she observed the mistakes she made in love and life and in art and determined how she would do better. It says in the blurb that the book is an ‘intimate and fearless account’ and that description is entirely deserved. Not because there is some harrowing story of overcoming odds, though the odds that Bernardine Evaristo has overcome are indeed harrowing, but because the author herself is so willing to be honest about being human and having faults. We live in a society that is increasingly polarised over everything with very little room for honest debate, discussion and acceptance, so it’s very refreshing to see someone being an ordinary human being, but an ordinary human being with a strong sense of moral purpose, and someone not afraid to use their platform for good; recognising the value of supporting others.

Wendy Pratt, What I’m Reading: Manifesto by Bernardine Evaristo

When a poem uses a lyric approach, readers tend to assume initially that the poet is the speaker of the poem; in this respect, a reader might think of the poem as a personal revelation or–if the circumstances of the poem seem to warrant it–as a kind of memoir. People who have more experience with reading poetry (or who have been assigned to write a literary criticism of the work) may change their assumptions once they read more closely. That’s one of the reasons I enjoy poetry. It challenges my assumptions, surprises me, informs me of new facts and perspectives.

Prose memoirs, most of us assume, are less metaphorical and more “truthful,” at least from the writer’s perspective. Though there’s room for the unreliable narrator in memoirs, readers tend to feel betrayed if they determine the memoir writer hasn’t been honest with them (then we end up with controversies like James Frey’s). I find the blurring of genres rather fascinating, but generally, the folks I know who read memoirs want a mostly-unvarnished truth.

What about taking the memoir in a different direction: instead of blending or blurring toward fiction, into poetry? There are poetic memoirs in print, but they tend to be writers’ experiences expressed in poetry they’ve written themselves. Lesley Wheeler has opted for something different in her book Poetry’s Possible Worlds. Here, she uses the idea of “literary transportation” as a reader of poems, demonstrating how close reading can evolve into a form of reflection on, well, everything. She chooses 12 poems to examine, works that were not only resonant for her but that drew her into some understanding of why and how poetry manages to infect our gut feelings, exert its magic on the reader’s mind. She makes an interesting decision, too, in presenting 12 contemporary poems and avoiding the classic canonical works, a choice that focuses the reader on the newness of the text rather than on its famous backgrounding. It’s fascinating to me how this approach shook up my expectations. In this way, too, she does the readers and the poets whose work she’s curated a great favor: we get introduced to one another through a sensitive, penetrating interlocutor: Lesley Wheeler.

Ann E. Michael, Memoir-ish

Montreal writer, editor and critic Sina Queyras’ latest title is Rooms: Women, Writing, Woolf (Toronto ON: Coach House Books, 2022), a book-length essay/memoir that works through the author’s reading of Virginia Woolf, and how an early introduction to Woolf’s work offered them a way not only out but through an upbringing punctuated by abuse, poverty, loss and trauma. As Queyras’ writes early on: “It’s almost true that I have published only a handful of short stories and one novel – one that experimental novelists might argue is conventional and conventional novelists might describe as experimental – but I have, like Woolf (although certainly not at the same level as Woolf), studied, read, written, critiqued, and thought about writing across genres for more than thirty years. / Is that enough to convince myself that I might have something to say about Virginia Woolf?” Rooms: Women, Writing, Woolf is an essay on influence, an essay on Virginia Woolf and a memoir of trauma, offering the details of how Queyras “got here from there”; how a discovery of Woolf’s work early on allowed them an example of how to lift beyond a dark history, and literally write themselves into the possibility of something else. “How did people who survived such trauma ever achieve smoothness in their lives? Equanimity? How did people who didn’t assume for themselves the right to safety, achieve safety, let alone perceive themselves as having a voice? As writers? Artists? Anything beyond a basic survival mode? It was bullshit. How could you tell your story if your story wasn’t one the world wanted to hear?”

Queyras writes of their reading and post-secondary experiences, of their relationships. They write of reading and experiencing the work of Adrienne Rich and Toni Morrison, Constance Rooke and Evelyn Lau, Jane Rule and Sylvia Plath; of academia, gender, sexuality and violence, and of linearity, writing on Woolf as figure, influence, possibility, anchor and example. “Lau wanted – and deserved – a literarycareer,” Queyras writes, describing a Constance Rooke reading and post-reading conversation during their time at the University of Victoria, and hearing the audience of predominantly older women tut-tut what they were hearing about Lau’s then-forthcoming memoir, Runaway: Diary of a Street Kid (HarperCollins, 1989), “and the way she found a book contract and entry into literature was by dragging herself through the streets and living to tell about it. Isn’t this why Sylvia Plath published The Bell Jar under a pseudonym? Because she saw that story as something not yet transformed? Too close to the bone? Something other than literature? Is this the women’s literature we’ve been fighting for?” Queyras writes of working and feeling through form and the difficulty of being present. They write of being transformed.

rob mclennan, Sina Queyras, Rooms: Women, Writing, Woolf

Like a lot of American women, I am not feeling especially enthusiastic about celebrating independence day, given that America just took the rights to our bodies away from us – affecting everything from my friends no longer being able to get medicine for rheumatoid arthritis (because it might affect a fetus) to people no longer wanting to stay in the states they’ve been living in because they, like I, have a health condition that might kill them if they got pregnant. Now, even before this ruling, pregnant women and babies have the highest death rates in America of any developed nation- showing that America does not actually care about life, just about controlling women’s bodies. This is not a joke – to many of us, this is life or death. There are women’s strikes and protests going on in many cities on July 4.

I looked at women’s rights in countries around the world, and found that most of them, including some you wouldn’t guess, are more progressive towards women than the US. Adding to the out-of-control mass shootings with no signs of stopping and the fact that you can barely get an American to read anything, much less read poetry (sorry for the generalization – but it seems awfully true these days) – I’m wondering if this is where I want to spend the rest of my life. I started researching three cities in particular – Dublin, Ireland, Paris, France, and Montreal, Canada. All three are significantly cheaper to live in than Seattle, which was a surprise, and all have good PhD program possibilities and Microsoft offices for Glenn to work from. All definitely have better, cheaper health care, especially for long-term health issues. It felt empowering to remember I am not trapped here, and no one can force me to stay in a country so hostile to women. I have actual Irish and French heritage, as well as interests in Irish and French mythologies and folklore, so that helps.

Now, moving countries is a big deal, expensive, and disruptive. I wouldn’t do it without a lot of thought. But quality of life is important, and we sometimes have to make changes to improve our quality of life. I did it twenty years ago when I moved to Seattle for a job, and I love the Pacific Northwest still. Money, culture, art, education, health care, air quality, natural beauty, access to work – all these things are going into the decision. But since 2016, I’ve just felt more and more that I don’t belong here, and America’s oppressive conservatism, as well as its lack of affordable health care and culture, are tipping the balance for me. It doesn’t help that many of my friends have moved away and many of my beloved specialists have recently quit for good. The tethers to this area are getting more tenuous…If you were a woman and a poet, where would you go right now?

Jeannine Hall Gailey, Finding a Way to Destress and Refocus in a Time of Chaos, Independence Day (But Not for Women, Apparently) and Looking at Living in a New Country

Those endless questions pull the bobby pin out of reality; 
the willies, blues, bad infinity

even the “shining truth” of politics —
nothing but a question

all stars in our flag become fifty questions
all past and futures held down by a moment.

Jill Pearlman, A Trump Zealot Finds Phenomenology

Ann Keniston: Sugar is central to your collection, as the book title, Sugar Fix, makes clear. Yet sugar seems to mean different things—at times it’s aligned with desire and pleasure, and at others it’s something to be resisted, an “urge,” in one poem, that the speaker is “unlearning.” Can you talk a bit about how you understand sugar in the collection? How did it become central to the collection? Did its meaning change or become more complex as you worked on the manuscript?

Kory Wells: It’s hard to believe now, but I didn’t know that sugar was going to be such a central motif of the collection for quite some time. I knew I was writing about identity and connection and love, and that I was witnessing to the power of story and memory. I also knew I wanted to incorporate a wider sense of history and social context. But it wasn’t until I wrote “Due to Chronic Inflammation,” which interweaves the speaker’s addiction to sugar with America’s addiction to gun violence, that the bells went off in my head: I can’t tell my story without talking about sugar: red velvet cake, sugar sandwiches, Dairy Queen, marshmallow pies. My ancestors even lived at a place called Sugar Fork! Sugar represents many factual details of my family history. But more than that, for me sugar represents longing: my longing for romance, yes, but more than that, for kinship and connection—even across time and the troubling aspects of our country’s history and present.

Diane Lockward, Terrapin Books Interview Series: Ann Keniston Interviews Kory Wells

in my inbox today
a range of tasteful items
with highlights from the ten-years’ war

on a cotton tote-bag
two bearded warriors argue
over a game of chess

on a tea-towel
a tee-shirt a coffee mug
Achilles slaughters Penthesilea

Ama Bolton, “Add some Greek drama to your home”

I feel like I need an oversight committee (yes, I know that’s not what they do) to keep track of all the things I keep forgetting to mention here, but I hope to fix one of these omissions now by saying congratulations to the good people at Orbis for making it to 200 issues.

To make it that far in these times is very much quite the achievement and a powerful testament to the tenacity and dedication of Carole and her reviewers.

I’ve been lucky enough to have had work published in there on two occasions to the tune of 3 poems, and have found my work surrounded by a wealth of wonderful work on each occasion. One of the benefits of being a subscriber is that you get to see the feedback that comes in the issue that follows…It’s always lovely to see that folks have taken the time to write in and say nice things about your work. And yes, Carole, I owe you feedback on issue 200 and a re-subscription.

Issue 200 features a range of poets, including work from Gillian Clarke, Simon Armitage, Glyn Maxwell, and I was pleased to see the featured poet was Norwich’s own Hilary Mellon.

Mat Riches, Launched into Orbis

Your number is still in my favorites.
(So is Mom’s.) This morning
I touched the screen by accident
and for an instant I dialed you.

I hung up quick as I could, before
the recorded voice could tell me
this number is no longer in service.
(As though I could forget.)

Opened my email instead, and
there in my inbox: a photo of you
and me, and my son (maybe five?)
at the zoo.

Rachel Barenblat, Phone call

TrishHopkinson.com, aka SelfishPoet.com, has been running since 2014 and I’ve published over 2,100 posts in the last eight years. It has been an extremely rewarding project and was a complete surprise–I had no big plans when I first started sharing information for the poetry and literary community. When I took last June off and re-prioritized everything, the change was good, but now I’m realizing I need a bigger change long term.

My website will stay available in the future, for historical reference. For an undetermined amount of time, I’ll no longer be posting regularly, doing editor interviews, etc. I may still share news about my publications, upcoming events for the International Women’s Writing Guild (of which I am a board member), the occasional guest posts I may write for other sites, and any other info that seems relevant and/or I just feel like sharing. And who knows, maybe someday I’ll start up again!

There are many resources available online to use for current submission calls and other helpful tips,  check out some of these excellent literary resource sites, not to mention my lists that will be useful for the long term, such as Year Round Calls. If you’re on Facebook, I’ll continue to run the No Fee Calls for Poems group as well.

A HUGE thank you to all who have followed my site, offered support, contributed to posts, provided me with feedback, and given your time in any way to the literary community. The best part of this project was getting to know so many amazing poets, writers, artists, and editors!

Trish Hopkinson, TrishHopkinson.com on indefinite hiatus

The summer is flying by, there is so much I want to do, so much I should be doing for myself and my family. I’m trying to balance the art of getting things done while leaving time to do nothing, to do the jobs that have to be done alongside the little activities I do just for myself. 

To do. That verb seems to rule my life. Lists to tick off, the pressure of time slipping through the hourglass. Much of the pressure is self-inflicted, but I am the person in the family who does things, and makes sure they get done. It never lets up and I never get a break from the demands of things to be done. Even on holiday on my own, I was on the computer in the morning and evening, sorting things for my children or myself. I couldn’t really relax on the trip either as I felt I had to do things, and see places as there was limited time and soon I’d be gone without those possibilities. 

I needed that holiday on my own as the things I wanted to do, needed to tick off my list wouldn’t appeal to the kids. I needed to go to Callanish, I’ve been waiting 30 years, but I also wanted to wade through the boggy sheep fields to the Callanish II and III sites and the Tursachan site further away. I wanted to sit in the wind and write in the shelter of the stone, to take innumerable photos of stones. I went at my own speed, took detours to empty spaces, had hours in the evening curled up in bed with a notebook or computer, so I could come back and do things for other people: the laundry, sort school places, take the kids from one activity to another.

Writing is another thing to do, but it rarely has the pressure of being done for other people. Few would notice if I stopped writing, and no one would notice if I stopped submitting. There are no requirements that I publish, that I produce yet another poem. It is basically free of external demands and is easily pushed down the to-do list. Yet given time and space, it’s the thing I want to do the most. In the summer, I make sure I leave time in the morning to write. My child-free weekends are dedicated to it, though I do need to finish taking down the old guttering, weed and water my allotment and a myriad of other things before the kids come back tomorrow. 

Gerry Stewart, A State of Doing

You worry a lot when you do something like this. Especially when you have very little net to catch you. City living is expensive, especially alone. Especially in this economy. Would I fail and have to find another full-time job eventually? Was this just an experiment that may or may not take? But ultimately, the thing, outside of money, that I feared turned out actually not that scary at all. I worried a little over the past year, that should I make money by doing other kinds of non-creative writing, would I have nothing left for the poems. If I spent so much time inside words, would they fail me where I needed them most. I’ve actually found not only is this not true, since they use very different parts of my brain, but that sometimes they, too, feed each other quite nicely. I’m present in my own creative work in a way i never was able to be before. I’ve also learned so many new things peripherally–random trivia and subject matter (who knew I would ever know this much about architecture?), but also video script writing, SEO optimizing. I think I’ve discovered that this monster in the woods was perhaps not even a monster at all, and maybe its just the wind after all.

Kristy Bowen, freelance life | 6 month update

sleepwalking to the graves
they have never left from birth to death
they have never seen the sun cry
the moon laugh
the stars fill so many poets’ pockets
are you listening to me 
well ~ are you

Jim Young, shout out your poem

What my colleague would have made of [Peter] Finch, I can’t imagine. We have the concrete poems, sound poems, performance poems, whatever comes into your head poems, even images of, for example, crumpled pieces of paper, purported to be critical reviews in poetry mags of the time.

He does what he wants and does it his own way. We don’t have to like everything he does. He would probably think there was something slightly wrong with us if we did because the point is that he’s trying to challenge us to rethink, reconsider, wonder why something he has done in an apparently odd way is how it is. I enjoy the way he explores ideas, in the methods he uses to communicate as well as in the more formal texts.

In his foreword to the second book (1997-2021), Ian McMillan recalls the time Finch was guest poet at Ty Newydd, the longstanding venue for those who want to attend poetry courses. McMillan, who was teaching there, asked Finch to liven things up a bit – perhaps a daft and dangerous thing to do! Finch responded by reading chunks of a Mills and Boon novel, tore pages out as he read them – and ate them. McMillan felt that in doing so he challenged the relationship between writer and reader, performer and audience.

Terms like avant-garde, concrete, experimental, inventive, alternative are so often applied to poets the world doesn’t quite understand or can’t pigeon-hole. I don’t want to go too near those traps but to interest me a poem has to feel like it’s living, breathing, feeling. At his best, Finch involves me in his work in this way.

Some will inevitably gloss over the stranger pieces because they won’t ‘get’ them. Sounds, images, images which combine with texts, found poems, all fit with a quotation from Finch, included by Andrew Taylor in his introduction, where he says: It is a perfectly respectable approach to make poetry from not what is inside the head but from the swirl of words outside it.

Taylor also calls Finch one of Britain’s leading poets. I’m not really sure what one of those is but I take the point that Finch is trying to challenge where poetry might take us – and in that sense is attempting to lead us somewhere, anywhere, perhaps he’s not exactly sure where, to offer us the potential to move our own writing into places we had not previously considered taking it.

Bob Mee, THE IDEA OF A ‘COLLECTED POEMS’ HAS ALWAYS SEEMED A SCARY PROSPECT…

For me, Poetry is like the weather. It comes in a lightning strike, a fully formed flash, or like a hurricane gathering strength and building as it grows. I can’t decide to write a poem. It decides to allow me to write it. Inspiration sometimes strikes when reading other poets so when I jot down a line or a few words, the poem might emerge, might let me shape it. Usually, though, the poem becomes what the poem wants to be.

Charlotte Hamrick, Talking Poetry & 2nd Quarter Favs

Rob Taylor: Unbecoming opens with a wonderful epigraph:

To be coming apart.
To be, coming apart.
To becoming, apart.
To becoming a part.

This speaks so well to many of the poems in the book, including “Reservoir,” where you use a first-person narrative to question the self, the ego to take the piss out of the ego. This theme was also present in your first collection, On High (its cover an ant towering like royalty on top of a thimble), but it felt less central. Could you talk a little about this theme of “coming apart” in order to become “a part,” and how your thinking on it may have shifted or expanded between books one and two?

Neil Surkan: When I was in my early twenties I drew a comic for a friend of a dejected, ovular guy. It was captioned, “All his life he strived to be well-rounded. Now he never has an edge.” The comic was, up to that point, the truest thing I’d ever written about myself. Likeability was a very important trait to my parents, and I was raised to be obedient, competent, and extremely extrinsically motivated. When I started reading poems in earnest at nineteen, I was inspired and flummoxed by the way original language diverges from likeability: the poems that drew (and still draw) me refused acquiescence and revealed how disingenuous obedience can be.

At that same time, I was starting to figure out I was queer and punishing myself for it because I was worried the people I’d grown up with would reject me or only see me as queer (like it’d explain everything). On High pokes around in that substrate, but it wasn’t until I learned I was going to be a dad midway through writing Unbecoming that I truly stopped aiming to “please,” both in my life and in my poems (there’s no distinction—ha), and started interrogating the beliefs I’d perhaps misunderstood about what it means to be a community member. How might I contribute by being myself, instead of who I think people want me to be? I love On High and I love how in love with poetry (and invested in pleasing the poets I love) it is, but I think that Unbecoming is my first unapologetic collection—the one that affirms the ego before playing around with (and sometimes shattering) it.

Rob Taylor, Suspension, Some Dread, A Lifeline: An Interview with Neil Surkan

Throughout “Vital Signs”, [Amlanjoyti] Goswami implores readers to live in the present, using mindfulness to pay attention to what is happening in that moment and discover essential truths about ourselves and our environment. It doesn’t take huge gestures or a long list of goals to make a worthwhile life, just the grace and humility to respond to the immediate. There is no shame in an ordinary life. Goswami is determined to celebrate any and everything that makes life worthwhile.

Emma Lee, “Vital Signs” Amlanjoyti Goswami (Poetrywala) – book review

Amid all the recent talk of certain poets being added to or removed from this or that syllabus, I started to wonder whether it’s better for a poem to be studied or to be read. Deep down, I suppose I fear the heart of a poem might be ripped out once it’s submitted to the strictures of an exam or a grading system, although its inclusion in a syllabus clearly means it will reach more people.

Of course, the counterargument lies in the chance of encountering a sensitive English teacher who shows students how to read for themselves, thus adding to their own autonomous interpretations. I know, for instance, that I would never have learned to appreciate many poets without the help and encouragement of Richard Hoyes from Farnham College. However, I’ve got the distinct impression that such teachers are being squeezed out of the system…

Matthew Stewart, To be studied or to be read?

I dreamt last night that I was conducting a university-level poetry class on an open lawn to a large number of students. The dean and my father were there. But I was so far from the students that they couldn’t hear me, and by the time I got around the huge table they’d positioned me behind, most of the students, my father, and the dean were gone. The next class was scheduled in a shack so small that the students wouldn’t fit and the books that were there were old, falling apart engineering texts. 

There are so many ways to interpret this dream. I’ve only given you the bare bones outline, but my dream emotions ranged from excitement at teaching again, to frustration, and finally landing on despair. And shame. Shame that I couldn’t make it work, that I couldn’t reach the students, that I couldn’t provide them with what would let them bring their own poetry into the light. 

This month marks the closing residency of the University of Alaska Anchorage Low-Residency MFA program. I won’t go into the weeds (and unleash my bitter anger) about why the program was cut. It was a gem, providing a way for working people, parents, and anyone who couldn’t afford two years full-time in grad school a way to become a better writer. Let me say that again – the UAA MFA Low-Residency program was a way for ordinary people who couldn’t take extended time off to learn how to write. The very people who have interesting stories. 

So often I meet folks who think that writers are born with talent. “I could never be a writer; I just wasn’t born with that talent,” they say to me. In high school, we’re aren’t taught that writers draft, revise, read, revise, get help from other writers, etc. And as a nod to that age old debate (can you teach writing), my opinion is that you can’t teach someone to be a good writer, but that you can teach them the tools of good writing. That’s what a good MFA program can do – teach the tools of good writing, introduce students to a wide range of good writing, put them in proximity with good writers who like to teach, and maybe most importantly give them a community that cares about and wants to foster good writers and good writing. At that point, there’s an excellent chance that at least some or maybe most of them will become good writers.

And now that door is closing. 

I don’t have a snappy way to fix the situation. There will be fewer opportunities for ordinary working folks to learn to become writers. The writing community in Alaska will lose a centering force. Personally, I’ll miss working with the amazing, giving, funny, smart, and talented students and faculty of the program. But the people I feel the worse for are the readers waiting for the amazing writing that would have sprung from the program. It may still arrive, but it will take those writers a lot more effort, they’ll run into a lot more brick walls, and we may lose some of them – especially the ones who aren’t wealthy enough or able to take time off to go places to network and learn. And frankly, those are the stories I want to hear the most – the ones from people like me, folks who work, raise their kids, go for walks after the dinner dishes are done. The folks in the struggle.

Erin Coughlin Hollowell, A door closes – losing the UAA MFA Program

summer wind shuffles
blades of grass
anywhere can be home

Jason Crane, haiku: 3 July 2022

Yesterday I had lunch with a friend, the kind of friend you can ask,  “Are we living in The Parable of the Sower or The Handmaid’s Tale?”–which will result in a fascinating conversation for hours, which was what happened. […]

Yesterday we talked about how strange it was to be having one of our last lunches during a time when the Supreme Court had just overturned Roe v Wade with rumblings of more reversals to come, a time when I had just purchased a house that looked like it could be a station on the Underground Railroad. We talked about how if we were reading this material in a novel, it would stretch credulity.  After all in the decades that we’ve been meeting we’ve seen a lot of progress being made in the area of human rights, and now it looks like it could all be undone fairly quickly. I talked about my naivete in believing that somehow having a seat as a Supreme Court Justice granted a superpower of impartiality. That illusion has been stripped away.

My friend has just gotten a dream job, and after a few weeks, it continues to be a dream job. I am off to fulfill my dream of taking seminary classes in person on campus. It feels like the end of an era, in both good ways and sad ways.

It is strange to be leaving for North Carolina, which now seems like a more progressive state than Florida. When we moved to Florida in 1998, we new parts of the state were not progressive, but it had republican governors in the old style of Republicans, fiscally conservative, with a faith in business and the family and programs to support each, as well as at the same time having a certain live and let live attitude towards those who wanted to move to Miami and try something different. It was a state that understood immigration in ways that perhaps it no longer does.

We are in a time of transition, both my friend and me and the whole nation. Some days I’m a little spooked by it all and worried about where we’re headed. Other days I have a faith that we will figure out what needs to be done, just like our ancestors did. I’m trying not to think of my friend’s ancestors who died in pogroms in Russia or my ancestors who were cash poor but could grow the food they needed and so they survived.  I continue to hope we can survive some of the grimmer possibilities of life in a dystopia. 

Kristin Berkey-Abbott, Life in a Dystopia

The ocean is the arbiter of all sorrow. Who owns
the shore that it leaves again and again? A bird
that loves the rain not knowing when it will come,
not knowing how long it will stay, learns twenty ways
to say the word drought. It sings of a remembered
rain. It sings of a forgotten rain. Birdsong, if you can
translate it, is the original dictionary of contradiction.

Rajani Radhakrishnan, The arbiter of all sorrow

Mike Dawes is a percussive finger-style guitarist. On a youtube clip he describes his work as comprising many simple layers (bass, vocals, etc). On a guitar there are several ways to play a particular note. Depending on how a guitar is tuned, the note may be available on a open string. By pressing on another string it may be available by conventionally plucking with the right hand or, more unusually, by plucking the other part of the string between the fret and the end – either with the left or right hand. The technical challenge is choosing the best way to play a note given the other notes that need to be played simultaneously or soon.

Maybe there’s some gratuitous showmanship when both of his hands jump up and down the strings, but he has a clean style and metronomic precision. Sometimes it’s not possible to play every note of every layer – missing items can be suggested (instead of a percussive beat, a note in the melody line is played more loudly) or left for the listener to fill in. Sometimes a single note may belong to more than one layer. Sometimes it’s possible to add flourishes.

Now here’s the analogy. In a poem the poet may try to convey multiple/layered meanings – reason and emotion, etc – while also giving physical descriptions or narrative. It can’t all be done at once. The task is often compared to juggling – “keeping all the balls in the air” – but maybe Dawes’ guitar playing is a closer analogy. Once the percussive beats are established, there’s no need to play every one – the odd reminder will do. And even the deaf can see artistry in the dancing fingers.

Tim Love, Mike Dawes, poetry and complexity

New bumper issue of Northwords Now is out with a couple of my poems in it. Always a pleasure to have work in Northwords Now which is freely distributed across Scotland and every edition fully available to read online which you can access here. Lots of poems, short stories, non-fiction writing and book reviews from across Scotland, a fab read! 

So, Look to the Crocus is due to be published spring next year and my manuscript is now pretty much ready for publication. It’s nice to be able to sit the ms aside for a sort of resting period which means I can go back to it closer to publication with fresh eyes. 

This also means I have the sort of feeling of a blank slate in front of me for new writing…!

Marion McCready [no title]

[Pearl Pirie]: What was your aim with the book?

[Shelley A. Leedahl]Firstly, Go evolved slowly over fifteen years as I had time to work on it. I was also working on and publishing books in other genres during this period, including the poetry collection Wretched Beast; the short fiction collection Listen, Honey; the essay collection I Wasn’t Always Like This, and the illustrated book The Moon Watched It All

Writing is my fulltime occupation … and to that end, an accountant once said I should be dead. I publish individual poems in journals and anthologies, but as a long-time professional writer, I suppose I do always hope that whatever I’m working on will one day find its way into a book. I’ve known since the time I was old enough to manage a pencil that I wanted to be a writer.     

When I write poetry, I write from a very personal place, with the understanding that the small things are the big things, and, as American psychologist Carl R. Rogers said, “The most personal is the most universal.” I may be writing from my own experience and disparate emotions–joy, pain, wonder, surprise, loneliness–but if I can communicate my own experience as authentically as possible, the hope is that others will make connections with my work via their own emotions and experiences. Sort of an, “Ah, yes, I’ve felt that too.” 

It might be said that poetry makes the world both a larger place (via language, ideas, geography, etc.)  and a smaller place. I’m interested in the inner map, the map of the heart.  

In documenting my own life, I also try to make sense of this often nonsensical world, and share that journey with others. The aim, then, is to make connections. To share our humanity here on planet Earth. And to continue to challenge myself in terms of language, poetic form, and subject. Writing poetry also requires that I slow down. Pay attention. I’m high energy, and slowing’s difficult for me. It’s good for me. 

Pearl Pirie, Mini-interview: Shelley A. Leedahl

Even though my house is surrounded by trees, it’s still in the suburbs. For some reason, folks around here feel the need to use gas-powered blowers to clear their driveways, which often prevents me from enjoying the morning on my back porch.

Mornings are hot and humid in metro Atlanta. I can tolerate the heat until about ten o’clock, but after that, it’s uncomfortable unless you remain absolutely still and are under a ceiling fan.

Just two hours north, however, the temperature drops a good ten degrees. My sisters and I sat on a cabin porch in rocking chairs and observed woodpeckers, tree climbers, black-eyed Susans and blossoming rhododendrons. For much of the time, I was in meditative state of rest, rocking and breathing in the sweet air. […]

My mom and her husband traveled from their home about thirty minutes away, and they hiked with us to Ana Ruby Falls. My mother is about to turn 83, and she set the pace for us up the mountain. She’s in better hiking shape than I am!

The cool air from the falls, under a canopy of poplars, hickory, oaks, and rhododendron, was a healing balm. My sisters and I realized after being there that three days was not enough time.

Christine Swint, Time in the Mountains

The summer is invariably a quiet time for me, writing-wise. There are too many distractions for one thing, but, in any case, I rarely get in the mood to write when it’s warm and pleasant outside.

Reading, though, is a different matter. Sitting out in the sunshine with a good book is, of course, one of life’s great pleasures. In the last three months or so, I’ve enjoyed new and old collections by David Cooke, Jonathan Davidson, Tim Dooley, John Foggin, Ishion Hutchinson, Simon Jenner, Anita Pati, Peter Sansom, Anne Stevenson and Sarah Westcott, as well as pamphlets by Amanda Dalton and Greg Freeman which I’ve reviewed.

On my to-read pile, are new collections by Cahal Dallat, Richie McCaffrey, Dino Mahoney, Helena Nelson and some old ones by Ken Smith, plus the Collected Poems of Lorine Niedecker. All of those should keep me busy when I’m off soon, in four of the six school holiday weeks. A few days in Marvell country, Holderness, will also be good for the soul.

It’s been lovely to see the excellent news lately that some of my favourite poets have new collections forthcoming, including Ramona Herdman, Marion McCready, Pete Raynard, Emma Simon and Matthew Stewart.

Meanwhile, the understandably long waits to hear back about various submissions go on and on, so in amongst my fretting about resilience and recalling of Eliot’s words about poetry being a mug’s game, I was chuffed to see, today, that Live Canon posted on YouTube the reading I did for them last year in their still-thriving Friday Lunchtime readings series. It can be watched here.

Matthew Paul, Hiatus

Ceilings still hummed
           with the echo of machines
from a million T-shirt
           and gym shoe factories
around the world, with live
           looping reels of caged
animals eating cutely
           from our hands.
Ditches filled with oil-
           slicked birds. Sadly,
we participated. And so
           what was coming
had mostly come. This is
           what happened. We
were so sure
           we could see it coming
until we couldn’t.
           It all happened so fast.

Luisa A. Igloria, And Then

whose eye is the distance to every dream

whose flower is the depth of my well

when i am the river, who
will i drown

Grant Hackett [no title]

Poetry Blog Digest 2022, Week 25

Poetry Blogging Network

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, the U.S. Supreme Court ending women’s reproductive rights, with justices hinting that other civil rights could also be up for reexamination, shocked many bloggers into silence, I think: What’s to say that hasn’t already been said countless times before, and feels especially futile now? Outrage is not always conducive to creativity, but sometimes maybe creativity needs to take a back seat. So hats off to those poets who were able to find words in response to Friday’s ruling, as well as to those who’ve managed generally to keep on keeping on, despite everything.


The sea is good medicine after a heart attack. This is how you do it, heart. Listen to this unceasing rhythm.

Flowing in, pouring out. Pushing and pulling. Kissing the shore, then dancing away.

Rachel Barenblat, Rhythm

It’s difficult to write about anything other than what’s happening here in what used to be the United states it’s difficult to think about anything else really now at what very well may be the end times so I will write here that I live in a free state so far and if you need to come here for a medical procedure you can stay here I can’t do much but I can be part of the vast pipeline that is forming right now an underground army of women who can help who believe that women are not second class citizens or chattel many of us old enough to remember when abortion was still illegal the patriarchy is gathering strength and speed even now that permit free open carry gun laws have been passed in NY and women’s rights are being stripped away and one church is trying to rule us all

It’s difficult to write of anything else right now so I will work on the poem I’ve been working on for weeks and keep reading and keep baking bread and go to my garden and glare at the cool ground where my tomato seedlings complain about the god awful cold spring the rain and lack of sun I’ve begun driving after a very long period of just never wanting to get behind the wheel again I think my not wanting to drive (or read for that matter) might have been new iterations of my bi-polar disease who knows it seems to evolve all the time my stupid brain and its little fires

Rebecca Loudon, Pig and farm report

I’ve known since childhood that to many people, I’m not a full person, but I can’t pinpoint the moment I grasped it. Sexual assaults in college and high school were strong messages that my body didn’t belong to me. In a middle school class debate, a teacher required me to argue AGAINST the Equal Rights Amendment–this would have been around 1980–and I found some noxious stuff as I researched the arguments, but I already recognized the kind of woman-loathing being spewed by those writers under the guise of reasonableness. (Side note: is it really a good idea to ask a middle schooler to argue in front of her class against her own personhood?) Still further back, my father saved my first short story, written in early elementary school, about an abusive father who kills his wife and one of his daughters, while the other escapes to tell the tale. It was apparently written in protest because I asked to watch a TV special about domestic violence and my mother wouldn’t let me. I was proving that I already knew the world was terrible. My father, who sometimes hurt us in a casual way, thought my story was funny. My mother was not of the same opinion.

Lesley Wheeler, Electing another trajectory

I am always a little shocked each time I remember this fact that it wasn’t until the year I was born–1974–that women could own their own credit cards.  That women actually could be distinct financial beings independent of men. I grew up in what felt like a feminist world–maybe not one that was as progressive as I’d like–and still moribund in so many 3rd Generation issues like media portrayals, slut shaming, unequal pay & opportunities, diet culture, marriage and family expectations–but one that at the very least guaranteed women fundamental rights to their own bodies, and to like vote. Numerous times, we were promised that the ERA was just over the horizon, but it never really was, and today cements that firmly.  

This morning, I saw my boyfriend off, climbed back into bed and opened Instagram to suddenly discover we had regressed nearly 50 years in not only feminism but human rights. I used to have a lot more compassion for conservatives. Or at least the pro-life conservatives.  Since Roe v. Wade was in the books, and in my understanding of it mostly gleaned from fashion magazines as a youth, was that those rights should be assured and I would definitely feel safer, as a woman, as someone who would eventually have sex, would eventually be making those sort of possible choices that they would exist. I would occasionally glimpse pro-life propaganda in the 80s–a billboard somewhere, a bunch of people with signs on the corner of a catholic church we passed frequently.  As a woman in my 20’s and 30’s I would have been more tolerant of the abortion issue as an issue–convinced that the while my own bodily autonomy was important to me, I could see why people would be concerned about fetuses if they were really into preserving something that was (they believed anyway) alive. You could say I could see both sides of the issue.

Except they weren’t.–these people were usually also pro-death penalty and pro-guns. These same people would balk at restrictive measures when things like school shootings happened. Were it about the children, about babies, they surely would not make it so easy for people to just randomly pick them off one by one once they were out of the uterus.  It took me longer than most to realize it was about CONTROL–over women, their lives, their bodies. 

Kristy Bowen, let’s not do the time warp again

So the doubleness of things, of words.
What does civil mean now

its cudgled emptiness
breakdown in definition 

enough to incandesce
in brother war

civil disobedience
loses its pact of politeness.

If it’s civil to leave newborns in a drop box

why not drop at her house – 
one, ten, a hundred?

Let the possessed with bionic eyes
remain apart, on a sun-struck table

to burn themselves out.

Jill Pearlman, Civil Burn

The bee balm I planted this past April is in full bloom, and the bees take greedy delight in it. The flowers are right next to a stone retaining wall, and when it’s shady, I love to sit there and watch the multitudes gyrating among the blossoms. It’s meditative and restorative as outside time suspends and I enter the bees’ eternal present.

There have been cataclysmic disruptions in the U.S. that have shaken many of us, if not most of us, to our core. It’s been hard to grapple with the demise of women’s reproductive and bodily rights as I also am healing from depression.

One of my sisters, a journalist, went to observe a protest in Atlanta, but I do not have energy to participate in these demonstrations. I’ve got to focus on restoring my nervous system, and gardening is one way I’ve been able to do that.

Christine Swint, Bee Balm Delights as I Heal

When I was about 12 years old, I found John Christopher’s YA Tripods books in the library. In this series, the humans on Earth have reverted to an agricultural, village-based society dominated by aliens who stalk the planet as giant “tripods,” three-legged metal vehicles in which the domineering hierarchy scans the population to make certain there are no outliers plotting to overthrow them. The aliens use technology to place a “cap” hard-wired into people’s heads when they are 12 or 13, and there’s a ritual ceremony surrounding it. The cap keeps humans docile and obedient to the overlords and contains a tracking technology so the aliens can locate where people are going, making sure there are no gatherings that might lead to revolution.

I found this idea terrifying. Somebody is in my brain, tracking my movement, forming my opinions, making my decisions, removing my imagination. It seemed like the worst thing that could happen to a 12-year-old.

I loved the books but had nightmares for years. And now, as one often feels when reading an older apocalyptic-fiction or sci-fi tale, I recognize a prescience in Christopher’s ideas. Instead of aliens implanting tech into our brains, we humans have found ways to implant ideas and sway the populace through entertainment and communication device use without wiring up the gray matter. Clearly, people can influence other people, “change their minds,” without actually entering the brain itself…though earbuds get awfully close to that vital organ. The cell phone/smartphone/tablet/watch (Google glasses, anyone?) seems a voluntary purchase to its users, but I’m old enough and observant enough to recognize a societal game-changer when I see one, and this has been coming for decades. The smart phone with its millions of possible apps has also become more necessary over the years, less of an entertainment purchase and more of a social need. I found this out when traveling by plane last week. I also discovered how pathetic my app-IQ is and that I barely know how to use my phone for anything but pictures, calls, and text messages. And yet it can follow me around, track my interests and movements, show me consumer items to tempt me to part with my money. Yo! Get outta my head!

Ann E. Michael, In which she is briefly a curmudgeon

I woke up from a dream in which I got to spend time with my paternal grandparents. Oh, how good it was to see them again–to hear my grandfather’s laugh and see his smile. My grandmother told me things she never told me when alive, about herself as a young woman. The grandfather in my dream died in 2004, and it had been so long since I’ve seen him in my sleep. I can’t remember the last time my other grandfather, who died in 1981, visited my dreams. In just a few years, I will be as old as he was the last time I saw him alive.

People who tell us that our dead will always be with us are wrong, I thought, as I opened my eyes in a house none of my grandparents got to see.

My grandparents are receding from me; they don’t occupy the space in my thoughts and feelings they did even just a year or two ago. Perhaps that’s because I’m no longer the woman I was when we last saw each other in this world, and because the world we lived in together no longer exists.

Rita Ott Ramstad, Last Sunday

Maybe if someone presses their face against
a glassy sky and screams, so much, so loud,

the glass will shatter and all that is hidden
behind the absolute blue will rush out, deluge

after deluge, sweeping me with it, no longer
sky, no longer glass, no longer night or day,

just a unified mass, a weeping singularity that
cannot stand the pain, so much, so loud. We

were not supposed to be like this. How does
one heart hold a sky full of grief? Where will it

go when it breaks, that sky full of grief? I watch
another cloud mass move in. It has been raining

for eleven days straight. The monsoon is a lover
who will not be denied. How many hearts, how

many skies, how much of crying makes a deluge?
How many rainy days makes a sky full of grief?

Rajani Radhakrishnan, So much, So loud

When did the dictator’s son

start combing his hair 

into that small, 

slicked-back, one-length 

pompadour in the same style 

as his father?

His mother and sisters

can talk of nothing 

but how happy they are

to be restored to power.

There is no canvas 

or mural on which 

their likenesses could be 

restored to anything 

but their own imagined 

glory. No length of fabric

to bandage the smell of goat 

piss out of the air, or lighten

the color of blood money, 

blood diamonds. 

Luisa A. Igloria, A Palimpsest (13)

I’ve done a lot of sorting which reminds me of how much I’ve written never sees anyone’s eyes but mine. So in that spirit, since time is short and I have grading to do let me close with a poem that I wrote last week after walking the labyrinth.

I walk the labyrinth
careful to avoid
the fire ant mounds that line
the paths. I step over velvet
pods dropped from ancient magnolias.
A dog runs across the seminary
grounds. The sun begins
the morning tasks of sweeping away the shadows.
All creation yearns for insight.

Kristin Berkey-Abbott, Week in Review–with a poem!

I have a new chapbook out, inside the current issue of Poetry East! I found many copies packed in a box on my doorstep yesterday when I got home from an afternoon rehearsal. It had rained all morning, and I was canvassing for a county board candidate in the rain, but the sun had come out, and there was a lovely breeze, and the day was gorgeous. A lovely surprise then to find my Postcards to the World delivered! This is an assemblage of my chalkboard poems, literally written in chalk on a green chalkboard and posted on Instagram and Facebook at various times for comfort, commiseration, or cheer during the pandemic. Richard Jones, poet and editor, after enjoying my tiny poems over time, approached me about publishing them all together in Poetry East, where he, too, was seeking comfort and cheer. The last issue was “The Optimist,” a rare thing these days, right? Sigh… 

Kathleen Kirk, Postcards to the World

Flowers are
all about

sex,
the old monk

said. Think
about that,

the beauty
of it.

Tom Montag, THREE OLD MONK POEMS (232)

Ugh. I hate the liftoff of this post: that ugly “we,” that my friend Jarrett so rightly identifies as “the white male we.”  A warning flag for me now, that says: probably drifting into posture and pose, and away from real engagement. So back up a little bit.

The most challenging thing to me about watching John Vervaeke’s lectures and dialogues is his insistence on public thought. Extended consciousness. What we computer science types call distributed processing. People are wiser when they are problem-solving collectively. This runs smack into all my prejudices and sense of self. I have always, like a good little American, prided myself on going my own way and doing it all myself. And I recognize this now as stupidity (not to mention a trait that makes me a docile, easily manipulatable political subject): but God it’s a hard habit to break. I even imagine having a real conversation in real time and I blanch. That’s reinforced by my difficulty hearing, sure: but it predates it. 

My plan has always been to work out my salvation (or enlightenment, or spiritual growth, or even just ameliorated suffering) on my own. That’s good insofar as I take responsibility for it: I don’t expect anyone else to walk my path for me. Nobody’s going to save me. I do it myself or I don’t do it at all. So that’s good. But then I’ve never really been tempted to just submit to priestcraft: I’m a stubborn son of a bitch. The really problem with working out my own salvation — being “spiritual, not religious” — is that it simply imports and replicates the disasters of Puritanism. One of the main things I need to get free of is the notion that I’m an isolated individual consciousness locked inside my skull, peering out of the grimy windows of my eyes at an alien world. That’s not what I am. I’m an intensely social mammal, a product of my world and my time, and to do much thinking — and in particular to do much transformative thinking — I need to get the hell out of my head. Transformation doesn’t happen in there. The conditions are too controlled: the habits are too strong. I need, if not a church, then some close analogue.

Dale Favier, First Confession

eaten by carpet moths
zigzagging from the sky
I lost the thread

it’s bewildering
in different houses with our G&Ts
a light in a window

Ama Bolton, ABCD June 2022

On Saturday I gave a short speech on behalf of my ex-husband and myself. Our son was finally able to enjoy an elegant wedding after two years of Covid kicking the can down the road.

My son has always hated it when I code-switch. He said he grew up thinking Norwegian words were legitimate English words because I tend to use the best word. What else to do but to code-switch in the speech? Kjærlighet means more to me than the word love. Most likely because it isn’t my native tongue. Love is overused, misused, and abused. What do we love? French fries and argyle socks (maybe not). I have never heard the world kjærlighet used in such a way. If it is a matter of my ignorance of the Norwegian vernacular, that’s all right. Language is private and public, subjective and contextual. Someone will always correct us when we think we have found the perfect expression.

I have to admit though, I like the Danish pronunciation better, with its abrupt K at the beginning – like a “catch”. Then the j there, quiet but like a hook. And the suffix “het” makes it a phenomenon. The Danish language is tough. I like that such a word has a toughness to it. A strength that comes from the gut.

You don’t “fall into” kjærlighet. It is something that arises. It is a different word than “to love”: å elske. To fall in love is to be forelsket. Kjærlighet is more than a feeling.

As I was writing the speech, I kept thinking about how it felt to have E. on my hip when he was small. How I’d lift him by one arm and he’d swing in like a little monkey, wrapping his legs around my waist. It is such an intense physical memory it brings tears to my eyes. It manifests a very different kind of kjærlighet. But still, a phenomenon that arises as an atmosphere and permeates the years. Still.

On Saturday night at the reception, on several occasions, my E. now taller than me would wrap his arm around my waist to comfort me. Include me.

There is a poem here that I will write. But for now –

I can’t find the word I want. It isn’t bittersweet. There is no bitterness here. Some language must have a word for this. I am not the first parent to be overwhelmed by an atmosphere that has somehow accumulated years of experiences, emotions, ambitions, hopes, disappointments, and failures. Short-comings and (undeserved) pride.

Ren Powell, Milestones and Omens

moonset over the pines
the lone buoy
lists to the north

Jason Crane, Pontoosuc Lake Haiku

Another coping mechanism of mine during stress is reading, and I had a wonderful new book to enjoy this week, pictured to the left. My literary cat Sylvia poses with Karyna McGlynn‘s new book from Sarabande, 50 Things Kate Bush Taught Me About the Multiverse, which is a fun, flinty, 90s-nostalgic Kate Bush love letter with terrific titles like “I Wake Up in the Underworld of My Own Dirty Purse,” which starts:

My stage name is Persephone./ I perform nightly for a smattering/ of ill-informed Tic Tacs.

And oh, any girl who went through an all-male barrage of poetry professors when they were young will immediately understand and identify with “How to Stop Raping the Muse,” with lines like

in workshop suggested/ my poems had Teeth but no Tenderness…my lines were called sharks and shameless/ hussies.

Anyway, get this book from Sarabande, terrific for a summer night read with a little rose. And maybe a cat and a typewriter. Will this solve all of our problems? No, but it will take your mind off of them for a little while.

Jeannine Hall Gailey, America Goes Backwards 50 Years, Karyna McGlynn’s Terrific New Book, and Spending Time with Flowers When You Want to Burn It All Down

“The Telling” holds a mirror up to family relationships, the good, the bad and the ugly of them, and the stories they generate. Can we trust stories handed down from previous generations? Who gets to tell these stories and does who is telling influence the listener’s reactions? Whose voices are dismissed, unheard? Are children’s voices more or less valid than adults’ voices? What happens when a child’s perspective differs from an adult’s? This is particularly pertinent in “Crash Site”, where the mother is a crashed plane,

“We never did find that black box
so it was always unclear exactly what had happened,
and each survivor told a different story.
But the wreckage was there for all to see –
seats and belongings scattered far and wide,
things broken open,
life jackets snagged on jagged branches.

Though our mother’s windows
had popped out with the pressure,
she sometimes talked affectionately about the plummet,
but swore she could remember nothing
of our other life, before take-off.
Our first memory was the screaming of metal
and the silence which came after.”

The missing black box seems to have been given the role of providing the truth since every survivor has a different version of what happened. However, the black box merely records facts, it doesn’t tell a story so, if it had been found, each survivor is at risk of interpreting those facts to fit their own story. So perhaps the answer lies in there not being one story but an almagam of many stories, which will never satisfy the original players. The mother’s affection for the plummet, is an illustration of how we can still feel connected to people who hurt us either because the hurt was rare and unintentional or because social conditioning keeps even dysfunctional families together.

Emma Lee, “The Telling” Julia Webb (Nine Arches Press) – book review

Each poem is composed out of that assemblage of small pieces, small moments of thought, into something larger, in the same way her poems assemble together to form groupings and manuscripts of larger structures of critical examination, reporting on the movements and minutae of living, social interaction, politics, perception, finances and the weather. Seen as a singular unit, her published books to date, one might say, are about everything: examining and questioning our perceptions of the world, turning around and over ideas akin to the domestic lyrics of Robert Creeley, offering what appear to be quick, short takes that shift how we might encounter or experience the familiar. She writes the spaces between words, between stanzas, sectioning poems in such a way that one might wonder how her work might read in a different order of sections and poems, if there might be something different articulated if the ending of one poem, say, was simply switched out for another. In many ways, Armantrout’s poems aren’t what exist on the page, but what connections the mind makes when assembling each section of what she has crafted. Her poems offer shifts in perception and cadence, composed with pinpoint accuracy. As the end of the poem “Instruction” reads: “The child in her crib / turns her head restlessly, / says, ‘aaah, aaah’ / like an engine left running.”

rob mclennan, Rae Armantrout, Finalists

I finished this book [Joshua Mehigan, Accepting The Disaster] a couple of weeks ago now. I’m pretty sure it was either a mention by Matthew Stewart or Ben Wilkinson online that led me to the book, but either way I got to it, and I raced though it. It’s a deceptively easy read that doesn’t make for easy thinking. The long title poem is a tour de force in my opinion, and his work has made me want to go back to look at how to engage with rhyme again. I stopped writing end rhymes because it felt obvious as a route, but I realise it was also a kind of laziness. I stopped when I was (and it feels weird saying this) attempting to get to grips with meter and form, so rhyme was an added complication. Good rhymes are fucking hard work…perhaps they should be, but Mehigan seems to handle them deftly. They never feel forced…and he doesn’t use them all of the time.

Mat Riches, Optimistic Disasters

[T]here is an art to self-promotion and part of it is timing. I’m still learning the ropes, it’s knowing what to say, where to say it and when and how often to say it. I don’t want to flog my stuff to death, but I do want it out there. Hopefully, people are interested and will check out what I’ve linked or added. 

I headed off on a holiday to Scotland just as iamb poetry launched Wave Ten with three of my poems last week and I’ve been so caught up with my trip, a health scare and worries about one of my kids that I haven’t been promoted myself or iamb. But here it is and it’s not going anywhere, so check it out.

Fifteen poets with three poems each, in text and recordings. I’m included with such bright lights as Penelope Shuttle, Annick Yerem, Elizabeth Castillo and eleven other amazing writers. 

Please take the time to listen to my work as well as the other poets’. The editor Mark Antony Owen has worked tirelessly, fighting with the tech and the texts to put together another great production and I’m pleased to be a small part of it.

Gerry Stewart, I am an iambapoet

[Pearl Pirie]: What is underway or forthcoming? 

[Allison Armstrong]: I have five glosas forthcoming in Bonemilk Volume 2 (Gutslut Press). This is one of the rare times when all of the pieces in a multi-piece submission have been accepted, so I’m pretty excited about that. I’m slowly chipping away at my Femme Glosa Project, polishing and sorting out layout. I’ve got a chapbook on sub, and the beginnings of a microchap in the works.

PP: That all sounds exciting. What’s the Femme Glosa Project?

AA: So, a Glosa is a type of formal poetry that takes 4 sequential lines from a pre-existing poem by a different poet and builds a 40-line, 4-stanza poem around them, using each line in sequence (backwards or forwards) as a line in one of the stanzas. Traditionally, that line is the 10th of each stanza, but other placements are fine too, as long as the lines appear at the same point in each stanza.The idea is to have your glosa be a response to, or exist in conversation with, the original poem that you pulled those four lines from.

I find glosas to be particularly reflective of the ways queer femmes riff on, respond to, promote, and encourage each other so, in the case of my Femme Glosa Project, each of the poems I’ve glossed (60-ish) has been written by another queer femme. Some are poets I know personally, many are poets whose work has shaped my own, some are new-to-me poets whose work I chose just because I happen to like that particular poem when I found it in a magazine or an anthology.

In a number of cases I’ve actively chosen to gloss a glosa that a particular femme poet has written on the work of yet another femme poet, specifically to draw attention to the idea of “femme lineage” and how its reflected in our poetry.

Here’s an example of a glosa: https://longconmag.com/issue-1/allison-armstrong/

Pearl Pirie, Checking In: phafours poet: Allison Armstrong

So, yes, still life. The possibilities. What if this is the order of things that speaks of beauty with the most clarity? What if this composition is the one that creates a necessary feeling of calm in the viewer? What if this is the one you love? What if by arranging this here and that there, a particular layer of the universe rhymes and resonates? If we can get this right, what else can we get right?

I hold out hope, is all. I’m getting better every day.

Shawna Lemay, All the Information is Already There

morning cherries
visiting birds are shitting
on a pink Buddha 

Jim Young [no title]

Poetry Blog Digest 2022, Week 23

Poetry Blogging Network

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 saw some sadness and outrage in the poetry blogs but on the whole the mood felt celebratory. As Jill Pearlman writes, “These are dark times, / Open the window, the sun shines today for 15 hours 10 minutes.” Opening windows is kind of what we’re all about, I think. Anyway, enjoy!


This morning, I woke up with a vague fear of abandoning my poet self. I thought about how I would feel 20 years in the future, if I stopped writing poetry, stopped submitting poetry. And then I wondered what led to this early morning quasi-panic.

I feel like I haven’t been writing poetry, but that’s not strictly true. In April, I did a lot with poetry for my seminary class project.  I’ve been continuing to experiment with my collection of abandoned yet evocative lines. I can’t write the way I once did because I have a broken wrist–or to be more accurate a wrist in a cast which limits my use of my dominant hand. 

I’ve had time periods before when I didn’t write. I’m thinking of the summer of 1996 where I wrote exactly one poem. That time was followed by a time of fertile poetry writing. […]

I think of other types of identity that are tearing the nation apart:  gender, sexual attraction, political affiliations. I think of religious identities that shape a person in deep and abiding ways. I don’t spend much time reflecting on these identities and what they mean to me. Is it strange that the writerly identity is the one that wakes me up at night with worries of losing it?

Kristin Berkey-Abbott, Poet and Other Identities

As soon as we arrived at King’s Cross and I felt that unmistakable London vibe; a mix of voices and languages and styles and music and smells and street food, I felt invigorated. The exhibition itself was just incredible. I am so glad I got to see it. I’d been wanting to do a research trip to the [British Museum] for the new poetry collection, and the non fiction book, so it was great to be able to combine a little day out with that very necessary part of my creative practice, which is to be physically present around the things I’m writing about. I was awed. I felt connected to the people who I have been writing about in a way that is hard to describe. This object in particular (below) which was found just outside Scarborough, at a place that I have visited several times, a place that I have written about and whose people I have tried to imagine being near and being connected to, I found particularly moving. Its use is uncertain but most likely it was used as a lamp, or as a ritual offering bowl, the light passing through the carved holes. It is the first piece in the exhibition, displayed simply, elegantly, with a plain background allowing the piece to speak for itself. I feel like I know these people who lived near where I live, and to see object, held in their hands, see it all the way down in London, in this enormous museum with all those people looking at it, admiring it as the opening feature of such a beautifully curated exhibition made me emotional.

Because the exhibition was so well organised I was able to linger around the artefacts and look at them from every direction, getting up close to the backs of them to see the way they were worked. One day I dream of having access and permission to engage with and look at things like the Star Carr headdresses (picture of one above) with no glass between myself and the object. Perhaps on a future project this might be arranged. But the next best thing is this elegantly put together exhibition that allows space and time to look at the objects owned by our ancestors.

There is something quite beautiful about writing the poems for the new collection. I am feeling, with these last series and sets of poems about ancestry that I am somehow drawing the collection together, like a string being pulled taut through the eyelets of a cloth bag.

Wendy Pratt, To London and the World of Stonehenge exhibition

Since the end of the semester, I have been trying to settle myself  into a routine of reading and writing and creating. Last night, I attended poet Michael Czarnecki’s weekly poetry sessions.  This session, Michael read a selection of his spontaneous poems and the opening of his lyrical memoir; then opened the reading to an open mic.  The poets and friends who attend these weekly sessions are some of my favorite people. Their poetry is stunning: lyrical narratives that embrace, history, mythology, identity, travel, cultures . . . I get goosebumps listening to each and every one.

I am so grateful to this community.

Since [the] end of May, I have been writing every day.  Have a fistful of poems now, a few 100 word stories, too. I think beginning each day with the intent to accomplish: gardening, writing, drawing, walking, daydreaming will restore my soul that has been banged up in the last 100 days.

M. J. Iuppa, June 2022: 100 Days of Healing

As a pastoral caregiver I know that both laughter and tears are normal in a hospital. (Not just in a hospital; always! But emotions are heightened at times like these.) Sometimes I could lift up and let the current carry me. Sometimes I sank to the bottom and crashed into the riverbed rocks. 

On erev Shavuot I joined, via Zoom, the festival service I had planned to co-lead. I sang Hallel very quietly. I may never forget singing לֹא הַמֵּתִים יְהַלְלוּ־יָהּ וְלֹ֗א כּל־יֹרְדֵי דוּמָה (“The dead do not praise You, nor all those who go down into silence,” Ps. 115:16) attached to a heparin drip and cardiac monitors.

Now I am home, learning about MINOCA (myocardial infarction with non-obstructive coronary arteries), and preparing to seek out diagnosticians who might be able to weave my strokes 15 years ago, my shortness of breath, and this heart attack into a coherent narrative with a clear action plan.

After my strokes, I saw specialist after specialist in Boston. Eventually I leaned into not-knowing, into taking Mystery as a spiritual teacher. But now that I’ve added a heart attack to the mix, I’m hoping anew for a grand unifying theory. For now, I remain in the not-knowing, with gratitude to be alive.

Rachel Barenblat, Heart

Where death is, I am not: where I am, death is not,
said Epicurus. But still the cognitive theorists aver
that an autopoietic system
cares for itself. Willy nilly. Say when.

Love comes late and untidy
bold and crumpled, crooked and strong:
it’s a tune now hummed under my breath: it needs
no voice.

Dale Favier, Deaf

How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

I think my first book, Punchline, which came out in 2012, gave me a sense of relief. Not validation necessarily, but I think it freed me to write when I wanted, rather than write as if life depended on it.  My newest book, The Forgotten World, is my third, and by far my most personal book, and my book most rooted in the real world, rather than any sort of metaphysical space. Being the Executive Editor of Atmosphere Press, which is not tied to the academic calendar, gave me the opportunity to explore the world more fully, and that exploration made for a book set in places, rather than in the one place of the abstract. […]

Where does a poem or work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a “book” from the very beginning?

I’ve done both, and for The Forgotten World it became clear along the way that I was writing a travel book and a book about the intellectual struggle of being American while not in America, and respecting cultures that have been mistreated by people who look like me. Once I realized that that was the subject matter I felt compelled to write, I just had to spend the years it took to go the places I needed to go to learn. This book is a product of years of feet-on-the-ground research in a way my others weren’t. […]

What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?

[…] I think one of the greatest roles of writing is to make the writer a more satisfied and content person. People often look to the value of a writer in relation to a reader, but I think the contrary view of what the writing does for the writer is more interesting. If all these writers weren’t writing, would they be less fulfilled individuals? Of course, the role of the reader is where this question would usually go, but as someone who helps writers every day with Atmosphere Press, it’s the satisfaction that writing can bring an individual that is at the forefront of my mind. Writing as art is a public service to the creator as much, if not more, than it is to the outside viewer of the creation.

rob mclennan, 12 or 20 (second series) questions with Nick Courtright

waves
the familiar anonymity 
of these thoughts

Jim Young [no title]

The collection is broken into seven sections and currently has 100 poems. It may have a few more or a few less as I continue to play with the sequence and figure out what can stay or go. I was fretting over the length of the book, but since this is likely my last full-length collection, I decided what the hell. 

There are selections from all of my previously published collections and chapbooks, but it leans more heavily on published-but-uncollected poems and never-before-published ones. It feels right, but there is still quite a bit of tinkering to do. We’re still on track for an Autumn 2023 publication date. Stay tuned. 

Oh, and the new header of this site and that I’ve used on my social media is not the cover of the collection. That’s simply a fun little placeholder while the final artwork is completed. 

Back in the early part of the spring, I had a massive infection in the scar tissue around the incision area for my cancer. Apparently, something bit me right behind my ear (where I still have no feeling) and it set up cellulitis. A trip to urgent care, an injection, and a round of antibiotics eventually cleared it.

I just passed the one-year anniversary of both my surgery and moving into the new condo (which I think I’m finally getting used to) and I’ve got another MRI and CT scan coming up in a couple of weeks to see if the cancer has metastasized to other parts of my body. Fingers crossed. 

I’m absolutely thrilled that Kate Bush’s “Running Up That Hill” – my favorite song – has topped the charts around the world 37-years after its first release thanks to its use in crucial scenes from Stranger Things 4. A whole new generation is discovering Kate’s music and it has been absolutely wild to see so much news and hear the song everywhere. I’ve contributed a brand new essay about Kate for the 40th anniversary issue of her fanzine “HomeGround,” which will be out any day now.

Collin Kelley, A small update on my work, health, and Kate Bush

as if the houses
were to be drawn across
the loose earth on which
they stand and go down
as if the trees that shield us
were to shake once
and follow the houses
roots up and branches down
each the mirror of the other
as if the sky already broken open
were to fold and fold
and swallow itself like water does
as if we were to stand on nothing
watching the symphony up
to its last echoes and wonder
what now
what to do
whether to step back
or step forward
or like the houses trees
and sky itself just fold
and fold and swallow ourself
like water does

Dick Jones, Dog Latitudes §16

So, I set about making some visual collages, adding Spongebob (ShvomBob) into what seems like perfect Ashkenazi tropes. I was also thinking of Gerard Manley Hopkins’ poetry. Why? Well, I’d listened to a couple podcasts about him (for example, the London Review of Books series about canonical poets.) I’ve also played with riffing off his poems, adding in internetspeak, colloquial language, and other contrasting tones. There’s a leaping electricity with playing with the contrast between his densely tactile hypercharged inscape-fueled language and other language which has its own world of associations. And so, I made the poem that appears below. It has a kind of Flarfy energy and, strangely, a bit of Celan-like sound to it. I also was intrigued to put the poem beside the image. It’s not quite an ekphastic poem — the poem doesn’t quite describe the image — but it does have a relation to it. That’s another kind of leaping.

Gary Barwin, All Shall Be Well with Spongebog Squarepant and Julian of Norwich.

Or the mouth keeps opening
in sleep, dreaming of bats
with indigo wings

opening and closing, closing
and opening with the uncertainty
of miniature parasols.

Luisa A. Igloria, A Palimpsest (4)

For a writer who has published over 30 books of poetry and prose in his native Germany, we have had too little of Durs Grünbein in English. Michael Hofmann‘s Ashes for Breakfast (Faber, 2005) introduced some of the earlier work and described Grünbein as possessed of melancholia, amplitude, a love of Brodsky, a love of the Classics, plus wide-ranging interests in medicine, neuroscience, contemporary art and metaphysics. John Ashbery praised Grünbein, identifying his subject as “this life, so useless, so rich” and the challenge to any translator is precisely this breadth and ambition. Happily, Karen Leeder is proving to be a really fine conduit for Grünbein’s work and here she triumphantly tackles his 2005 sequence of poems about the firebombing of his hometown, Dresden, by American and British planes in February 1945.

Porcelain is a sequence of 49 poems, 10 lines each, rhymed and grounded in Classical metre and given an air of Classical elegy by its subtitle, ‘Poem on the Downfall of My City’ (‘Poem vom Untergang meiner Stadt’). But if resolution, consolation or summing-up might be expected, this is, definitively, not what we get. The title, of course, refers to the Meissen pottery which, from the eighteenth century on, brought Dresden its great wealth and fame. But it is also a pun on the poet to whom the sequence is dedicated: Paul Celan. In Celan’s poem ‘Your eyes embraced’ there is an effort to swallow the ashes of genocide but they return to the throat as ‘Ash- / hiccups’, an image repeated in Grünbein’s opening poem: “It comes back like hiccups: elegy”. The sequence does indeed hiccup in the sense of its jerky shifts of tone, its multi-faceted images of Grunbein himself and in its close to choking articulation of the horrors of the Dresden bombing.

Martyn Crucefix, Ash-Hiccups: on ‘Porcelain’ (2005) by Durs Grünbein

Massive news for me: HappenStance Press will publish my second full collection in November 2023. I’m delighted/chuffed/overjoyed, etc, etc, to have the chance to work again with Helena Nelson, one of the best editors around.

What’s more, HappenStance books are gorgeous objects in themselves. Now to keep chipping away at my ms, only sixteen months to go…!

Matthew Stewart, My second full collection

I don’t take breaks from writing very often–hardly ever–I am a very diligent writer, since my time for writing is limited by the responsibilities of being a homeschooling mom of five kids, and my online adjuncting, and, and, and. There’s always something or other trying to nip away at any time I have for writing, so I typically hoard it pretty jealously and am loathe to give an inch of it.

However, writing 30 poems in 30 days plain wore me out! I ended up creating a chapbook out of it (which I just signed a contract for–hurrah!–and more info soon!), and I’m happy with the work I did, and the couple of poems I wrote in May.

I think I can get sort of bent on “output” and productivity as a poet though, and lose site of just letting myself sit, wonder, daydream. I need to refill with long walks and working in the yard and swimming in the neighborhood pool.

Renee Emerson, Summer Break

June that is succulent sin, the swell of mangoes,
the smell of wet mornings, the spell of every word
as it circles under a ceiling fan,
each word a world, finding an orbit, a speed,
each word with its own day and night
and horizon
and season for lovemaking.

Rajani Radhakrishnan, Till the end of June

Had the pleasure of reading Melissa Studdard’s new book from Jackleg Press, Dear Selection Committee. This is a book of exuberant, joyful, and heck, sexy and fun poems set into the framework of applying for a very specialized kind of job. Some poems are heartbreaking, taking on contemporary tragedies. It’s an inspiring book, too, making me want to write for the first time in ages.

Here’s a short excerpt from “My Kind,” the opening poem: “I am my own kind. I’ll learn to play piano. Like Helene Grimaud, / I’ll see blue rising from the notes. I’ll be an amateur bird watcher,/ a volunteer firefighter, a gourmet chef, a great/ humanitarian. I’ll plant a prize-winning garden,/ grow a pot farm. My hair is on fire. I’m running/ out of time.” The cover art by Karynna McGlynn is also amazing.

Jeannine Hall Gailey, Zoo Visits, Crowns, and Family Emergencies, Melissa Studdard’s Dear Selection Committee and Setting Boundaries in the Lit World

I wrote this poem in 2015. Seven years later the problem of children being killed by guns in America has only escalated. How much mental illness in fact begins with living in a country where it does not feel safe to go to the grocery store, first grade, 3rd grade, 4th grade, high school, college, a movie, a doctor’s office, your place of employment, a concert?

As poets we write about what we feel and witness. As poets we record-keep the actions of a culture. As poets we express in a few words the horror and beauty of this world. May the horror move you to action. May you find a way to preserve the beauty of this world, so that our children have the chance to bear witness to it.

Carey Taylor, Land of the Free and Dead

How come the preacher
is so good with a gun,
the old monk wondered.

Tom Montag, IN THE NEWS

These are dark times,
Open the window, the sun shines today for 15 hours 10 minutes.  

And windy, 
a piece of lettuce is blowing off my lunchplate.

Gesundheit, 
we say to the sneeze heard through the open window.

On my summer reading list is “In Defense of Ardor”
and intention to pronounce Zagajewski

Jill Pearlman, In Defense of Ardor

When I finally returned to a real, traditional classroom, I was reminded of what I did love about working in higher education, and why I returned, semester after semester, despite all of the other infuriating bullshit: sharing literature, talking about the craft of writing, connecting with my students. It was so much better than the asynchronous Blackboard discussion forums, where students and their instructor (*cough*) struggled to keep up, or even the synchronous Zoom classroom, where if I was lucky students would participate over the microphone, since almost no one participated with their cameras on.

So what I’m saying is that, well, it’s odd to be leaving for sabbatical after having just returned to some semblance of the before-times. (I had only one regular traditional class in the spring semester — everything else was some form of online teaching, due to student demand.) Of course, I’m still going to take sabbatical — I’d be a fool to walk away from this opportunity. And I’m hoping that when I return in spring 2023, more students will be turning away from the hellscape that is remote learning, and back in a classroom where we can make eye contact and speak to each other in the ways that humans were meant to communicate — face to face, person to person, focused brain to focused brain.

(That “focused brain” might be wishful thinking, for both my students and me.)

Sarah Kain Gutowski, See Ya, SuckYear 2021-2022; Hello, Half-Year Sabbatical. I’ve Been Waiting a Long Time to Meet You.

I walk another block past my grandpa’s
high school; I wore his graduation ring
on my pinkie for years,
marveling at his small hands.
My own hands are too big now.
It no longer fits.

Jason Crane, POEM: Hand-me-downs

I want to tell you that she was a good dog, as obituaries generally require us to speak well of the dead, but she was not, by most objective measures, a good dog. She paid attention to our words and wishes only when she wanted to, she was never reliably housebroken (not because she didn’t understand or couldn’t comply with the expectations, but because she really preferred, like the humans in her pack, to go inside), and she was notorious for getting her longtime companion, Rocky, all worked up over nothing. She was a fan of the grudge poop (middle of the hallway, where it couldn’t be missed), and she had no fucks to give about things we might have felt important that she did not.

Which just goes to show that you don’t have to be good to be loved–because love her we did, unconditionally and deeply. Sometimes we loved her more because she wasn’t “good,” and she had us laughing even as we scolded her (such as the time we caught her on the kitchen table, licking butter from the butter dish). She was funny, and strong-willed, and sassy. She did what she wanted. Lucky for us, one of the things she wanted all the time was to be as close to one of her humans as physically possible.

Aside from being with us, her favorite things were eating and taking a nap in a patch of sun. We could all learn a thing or two about living a happy life from her. (Take the nap. Eat with gusto. Love what you love without apology.)

Rita Ott Ramstad, Daisy May Ramstad, 2007-6/6/2022

It’s been a strange week, creatively speaking. The highlight of the Bearded Theory music festival, for me, was Patti Smith, especially when she read Ginsberg’s ‘Holy’ – I think I’m right in saying it’s the litany that comes at the end of Howl. Such a brave and committed thing to do, to recite that to a festival crowd who, let’s face it, aren’t there to hear poetry, although maybe these lines held some resonance:
‘Holy the groaning saxophone! Holy the bop apocalypse! Holy the jazzbands marijuana hipsters peace peyote pipes & drums!’
You’d think, spending last weekend at a festival, then having the week off work (half term) I’d be buzzing with ideas. However, as I said, it’s been strange, creatively speaking. I’ve jotted down about four haiku, one I like, the other three contrived and not really going anywhere. I’ve had a guitar lesson, but not given over enough time to practise. I’ve walked the dog, but dutifully, rather than enthusiastically. I know that’s how it goes sometimes. You just have to accept the peaks and troughs. And I know you can’t force a poem, although I do believe you can facilitate it. Writing this blog post, I’m trying to do that, because I realise it’s important to acknowledge success, especially when you think you’re hitting a fallow patch. So, I’ll leave you with this poem, which is one of three (I was amazed when they accepted three poems) recently published in the May edition of the British Haiku Society’s journal, Blithe Spirit:

dawn across the allotments
beads of coral spot
on last year’s pea sticks

Here’s hoping for further inspiration!

Julie Mellor, Tinywords etc

My colleagues in academic support–my university department–are still housed in the basement of the main classroom building. I miss them, and they envy the fact that I now have a window (and that it’s not freezing up here). But while I would never knock the value of a window after 15 years under the frost line, I’m happiest about having my work office located in my favorite building on campus: the library. Books make me comfortable. When I need a break from my computer screen or from meetings, I can take a deep breath and walk around the stacks in silence. It’s perfectly acceptable to be rather introverted in a library. And the people who surround me are as enthusiastic about books as I am.

I plan to take a short breather from blogging and work-related stuff to visit a far-away Best Beloved and am already plotting which paperbacks to pack for the tedious flights. I hope to avoid silverfish and viral stowaways. Wish me luck.

Meanwhile, embrace your inner bookworm!

Ann E. Michael, Thysanura

We mambo through rainbows laced along the Retiro
and two-step into the Garden of Earthly Delights,
where swallows burst through pink eggshells
and Adam plops down as though stupefied on the grass.
God, dressed in red velvet robes, stares at us
as he holds Eve’s wrist and takes her pulse.
We shed our clothes— drag queens expose
their statuesque torsos, and I reveal my pale potbelly,
my breasts like empty soup bowls. Here,
shame has drifted out to sea in a soap bubble.
Naked together, we are whippoorwills circling fountains
frothing with limonada, sangría, tinto de verano.
We are owls with pineapples on our heads,
symbolizing nothing, fizzing with delight.

Christine Swint, After the Pilgrimage, We Enter the Garden of Earthly Delights

The bad news is you will not become a marine biologist as planned. You’re too bad at math and too good at other things like words and books and that pretend play we call theater. Later, you will badly want to be a lawyer, a politician, or a psychiatrist. Then a teacher. You will read so much you never would have thought possible. The poems you wrote in your little blue diary with the lock, the ones you scribbled on pen pal stationery, they will become your own kind of gospel, and you will pick them up at intervals. In a year, you’ll typing a skinny poem on the electric typewriter you will buy in the next few weeks and sending out submissions. They will all be no’s, and you will get a lot of no’s in your life, so you’ll get used to it. College will be a lively time full of late night rehearsals and hours crouched in a cubicle in the library reading.

Kristy Bowen, letter to my 18 year old self

Chris James has a marvellous ability to create whole worlds in a few well-constructed lines. Each poem here carries with it subtle layers of experience and depth and ask questions that take it beyond whimsical fantasy. Some of the settings are stark, as in The Buddy Holly Fan Club of Damascus. We painted a pair of Buddy’s glasses on a twenty-foot portrait of Bashar-al-Assad./ Bombed out of our basement, we took to the hills… on every shattered tank, scratched True Love Ways.

Yes, there is a gentle humour in Sherlock of Aleppo but it’s another look at how in darkest times people have the capacity to invent escape routes, if only in the imagination. Their home is 221b Al Khandaq Street, a bombed out paint shop. Victor plays a violin with no strings. […]

As is usual in his work, there are characters here, endearing, sympathetic, sometimes psychologically strange. They do odd things – The Goldfish at the Opera begins: My grandmother took a goldfish to the opera; she let it swim in her handbag in a few inches of water. One of my favourites is Dorothy Wordsworth Is Sky-Diving: She emerges from a cloud,/at a hundred and twenty miles an hour./ In her black bonnet and shawl, she is/ a spider dropped from space. .. As she nears the ground, she’s a girl again/ in the house in Cockermouth, riding bannisters/ of sunlight, spilling down to the garden.

Bob Mee, THE STORM IN THE PIANO, New pamphlet by Christopher James

In twelve chapters, Lesley Wheeler discusses twelve poems. Her method is personal, though it’s also informed by her academic and poet cred. The reader feels immediately as though they are in good, capable, empathetic, poetic, and also nimble hands. The life of the writer is intertwined in the readings, and isn’t this the case for how most of us read poetry? If we spend a lifetime reading poetry, then our life is going to be brought to our reading a poem. I remember in poetry workshops back in my university days, where sometimes the entire critique or discussion of a poem would be about mechanics, when the subject of the poem was something incredibly heart wrenching. This was probably also at a time when “reader-response” was buried in favour of “critical theory” in the rest of the English department. I could never understand why we couldn’t have both…

In putting together this book, Wheeler says the process “helped me to consider what poetry is good for and how its magic operates.” I loved the discussion around “gut feelings” in the first chapter, where “gut feelings keep you whole and enrich your interactions with other people.” Wheeler says, “we should trust our guts about books, too.” All through Poetry’s Possible Worlds I felt as though I’d met a kindred spirit, someone who reads poetry in the same way that I do.

Shawna Lemay, On Poetry’s Possible Worlds by Lesley Wheeler

Yesterday’s programme of words and music was a celebration not only of Eliot’s great work but also of the collaboration and friendship of twenty four writers and performers, some of whom had never met in person before. Faces remembered from on-screen boxes turned into three-dimensional human beings with extraordinary skills. We have been working on this for the best part of a year, mostly on Zoom. The five editors got together twice in a cafe in Bath to work on a script collated by Sue Boyle, who has inspired and guided the project from its beginnings. Some excellent writing had to be omitted due to the limited performance time. I don’t doubt that it will find its place in the world.

Ama Bolton, The Waste Land Revisited

Kory Wells: One of the first things to strike me about Design is how color infuses this collection. The epigraphs introduce white and green through the words of Frost and Lorca, and soon the reader is drenched in color: the yellow of a magnolia goldfinch, a hosta “blue as a lung,” turquoise storefronts, the gray-greens of dreams, a burgundy dress, and so on. You even have several poems with color in the title—“Green,” “Embarrassed by Orange,” and “The New Black”—the latter of which I want to talk more about later!

So I really want to know: Is color as important to Theresa Burns the person as a whole as it is to Theresa Burns the poet? For example, what colors are in your home? Do your rooms mostly share a palette, or do they differ wildly? Do you dress in bright colors?

Theresa Burns: I love your question about color! It is important to me, and I think it’s become more so as I’ve gotten older. It’s probably rooted both in my kids’ enthusiasms when they were young and also what excites me in the landscape.

When my daughter was a toddler and we asked what her favorite color was, she genuinely couldn’t decide. “I love all the colors,” she’d say, helplessly. (Though I think she’s now settled on yellow.) The older I get, the more I’m with her on this. Why do we need to choose? My son, when he was young, loved purple most, then orange. The poem “Embarrassed by Orange” is about him helping me get over my adult need to push color away, blunt it somehow; he gets me to share his unabashed joy in it.

Color has a huge psychological impact on me. If I’m feeling a little depressed or dulled, I run out to find some orange to bring into the house. Orange tulips, a bowl of tangerines. And everyone in my house knows that if they spot an American goldfinch at the feeder, I must be summoned immediately. So colors make their way into the book, too.

Diane Lockward, Terrapin Books Interview Series: Kory Wells Interviews Theresa Burns

We were the beginnings of a Monet
bursting to be an O’Keefe:
vivid, exuberant, grabbing forever
in fistfuls.

Charlotte Hamrick, As glasses were raised

Following up on last week’s post about Polish poet Wisława Szymborska, I want to talk about another Eastern European poet, Charles Simic, who was born in 1939 in what was then Yugoslavia.  I first read his poems in about 1970, when I was just beginning to write seriously, and his work opened doors in my mind that I didn’t even know were there.  That first excitement only deepened over time.  The tone reminds me some of Szymborska’s in its humor in the face of great tragedy.  But Simic’s work also summons up the magic of fairy tales–the impossible described very matter-of-factly.  In addition to his numerous books of poetry, he’s also published several that collect his essays and memoir fragments, which I find as compelling as his poems.  He won the Pulitzer prize in poetry for a collection of prose poems, The World Doesn’t End, which remind me of Joseph Cornell’s boxed assemblages.  Simic wrote an insightful book on Cornell’s work, and I think of Simic’s poems as similar to those boxes. 

Sharon Bryan, Charles Simic

[Pearl Pirie]: How did you get first find to haiku and haibun?

[Skylar Kay]: This is actually kind of a fun story! So the university where I did my undergrad, Mount Royal University, had these events where they would take old books that nobody took out from the library anymore, or books that were being replaced, and would sell them for a dollar. During my second year I stumbled across a copy of Basho’s travelogues. Looking back, the translations were not the best, but it still got me totally hooked! I was just so enthralled with just how much could be captured by such a short and seemingly simple form. I began to view haiku almost more as a philosophy than just a poetic form, and let it take over my life completely.

PP: Wow, that is a cool encounter. How did the form help shape the manuscript?

SK: As with many collections of haibun, Transcribing Moonlight follows a chronological progression through the seasons, through shifting lunar cycles. This was a perfect opportunity to use these poetic tropes to reflect and augment my own experience as a transgender woman, allowing my own phases of transition to kind of be swept up into the changes that one sees throughout the year. Beyond that, however, I felt that I needed more than just haiku. While I love the haiku form, and think it can capture a lot, there are quite a few instances of my life that I could not totally put into a handful of words. The longer length of haibun allowed me to provide a bit more detail and express myself more fully than I could have done otherwise. It took me a while to learn to write the prose, but I think it was a great experience!

Pearl Pirie, Mini-interview: Skylar Kay

I was feeling a little let down before traveling because it is so so hard to get big media attention for a book, and I’d been pitching furiously. Then I read descriptions of exhausting, demoralizing book tours by bestselling authors in Hell of a Book and Sea of Tranquility–just a random coincidence, I chose the books for other reasons–and was reminded that big-time writerly success has drawbacks. When your work becomes “product” that makes money for corporations, it’s both lucky AND a ton of work and pressure (and media training–yikes). The gift economy less famous authors participate in has plenty of problems, but it’s also kinder. Mott’s and Mandel’s fictional writers, in fact, throw away the brass ring they’d grabbed in favor of the human connection they need to survive this stupid world. I notice that Mott and Mandel are not themselves making this choice!–but it suggests that both remember their former small-press careers with nostalgia, maybe even a little regret.

Lesley Wheeler, Tendrils, connections, & kindness in publishing

This is how it starts, dictating on my phone. It was going to be a short story, maybe a novella. A little bit of fun with an imaginary person that I throw into an improbable situation. Maybe a problem, maybe a puzzle. One day I will write a murder mystery, if I can bear to live with the idea of a murder for a year. It always takes me a year to write a book. That’s a long time to live with your imaginary friends. But on the other hand, it’s lonely without them. When you send them off to be published.

Rachel Dacus, Starting a New Book — Why Did I Do It?

Goodbye to the broken heart. Goodbye to the heart that crossdresses as death;

the heart that chases ambulances, cheats at Monopoly, plagiarizes skywriting.

Goodbye to the heart of fools gold and busted pianos, book burning and unlearning.

Goodbye to the heart that beats a crooked path in the blood.

Hello to the heart that beats a truer, steadier song.

Rise and continually repeat yourself.

Rich Ferguson, Goodbye/Hello

Poetry Blog Digest 2022, Week 19

Poetry Blogging Network

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: gloom and doom and blooms. Nightmares and hobby-horses. Biophilia and bibliophilia.


How does it begin? Wasn’t failure the first consciousness, wasn’t death the first precept. We know these things like the taste of our own mouths. Not as a taste, not as knowing. Still, we elevate their antonyms — a god, a love, a lover, a time — we embellish them with the infinite, the eternal, one thing containing the other, with victory. How else should we process our own defeat?

Rajani Radhakrishnan, How does it begin?

how you are
lonely in a crowd
like the moth
inside the cage
of hands
and each wingbeat
sheds more
of your powder
and you can hear
the calm voices
and the shared
laughter and
they think that
you’re with them
out in the light
but where you are
is entirely dark

Dick Jones, how you are

Busy times in my body and brain. Attended the funeral of a young co-worker yesterday. Heartbreaking. I loved learning about, and hearing, the country music songs she loved. 

In the afternoon, I helped to pot tree seedlings to be planted in the fall. Part of a big tree-planting surge: 11,000 seedlings (stick stage) were planted this spring. These that have budded and begun to leaf need to wait for the fall. Hot, fun work, in good company, outdoors.

Then, there was a Zoom discussion of Book VII of Paradise Lost with an international bunch of people–mostly Chicago and Canada, but some were actually in Portugal for earlier Books, and some were walking El Camino in Spain while we were between Books.

Kathleen Kirk, Wild Columbine

I read somewhere that someone
thought eukaryotes anyway would make it through a nuclear winter.
And from there the game could begin again. We’ve still

got billions of years: plenty of time. Though I’m sorry about the cats.
So then I think: do I care what happens to the creatures
who finally make the leap? Make it for real, I mean? And I thought

well, I do if they’re good. And there I paused: a new scent
was on the wind. If they love what’s beautiful and worry what’s true:
well, sure I care. And I wonder how to leave them a message, and then

I wonder what message I would leave? “Be careful, dears, there’s
a tricky part that comes when you industrialize”? “Put your house
in order before you learn how to burn it down”?

Dale Favier, After Winter

Dear false future, the shells of seeds
you crack open with your teeth make
a small, damp pile in the trash can. Each
is a world you pried open to extract
its only treasure. How many martyrs lie
buried without headstones? Meanwhile,
your blind mother and your bloated
father have their hair washed twice
a day, their organs flushed and pickled,
pearls sewn into their thumbs.

Luisa A. Igloria, Election Results

I wrote this poem in 2019 after the Georgia State Assembly passed a law that would ban all abortions after a so-called fetal heartbeat was detected in an ultrasound.

Camatkarasana, roughly translated as Wild Thing, is a sort of one armed backbend that one of my yoga teacher enjoys guiding us toward.

She has a unique way of describing what is going on inside the body and how to harness that energy toward achieving greater strength in the pose. It’s a difficult pose to achieve and requires strength, flexibility, and confidence, but once you do achieve the pose, the body becomes flooded with energy.

My heart is very heavy with sadness for women now that the leaked draft opinion to overturn Roe v. Wade has been published. We ARE wild things, strong and capable of determining what happens to our own bodies. I’m full of fury that forces in our society want to take this right away from us.

Christine Swint, The Yoga Teacher Guides the Women in Camatkarasana In the Season of Fetal Heartbeat Bills

These years are wilderness
and sometimes I struggle to hear
the still small voice
calling me forth
from my armchair, calling me

into humble not-knowing
and into the splendor
of not making myself afraid.
This work isn’t new, and
we won’t complete it: that’s ok.

Yes, there were leeks
in the beforetimes. I miss
them too. But then I remember
not everyone got to eat
even then. We can do better.

It’s all right to feel fear
as long as we put one foot
in front of the other.
There is no path to Sinai
other than this.

Rachel Barenblat, Not Knowing

I spent the better part of yesterday sorting books.  It is clear to me that we are moving into a phase of life with more moves and less book shelf space, so it’s time.  I started the day feeling a powerful sense of catharsis as I sorted through books, and I ended the day in tears and exhaustion. It’s a strange process the sorting of books. Let me record a few reflections.

–I used to keep books thinking that I would reread them, but it’s become clear to me that I usually check out new books from the library rather than read my old books.  I used to think that I would have complete collections of authors’ books, and in my 20s that seemed perfectly reasonable. Now that plan will require a lot of bookshelf space. All of this to say, I’ve been hanging on to a lot of books that I no longer need to hang on to.  Getting rid of those was the easy part. […]

–I am now comfortable getting rid of books even though I once spent lots of money on all these books. I supported individual artists by buying the books, but it doesn’t mean I need to hang on to them forever.

–Along the way there were sadnesses as I looked at inscriptions and thought about the people who once bought me books as presents. I tried to feel gratitude for all the people who have loved me in this way while also letting those books go.

–Every so often I saw the handwriting of people who had borrowed my books, people who had permission to write in them. One of my best friends, who has since died, borrowed my Norton anthologies when she returned to school to finish her BA, and her writing is all over the books. Those are tougher to let go.

–A lot of these books represent hopes and dreams, even though I’ve moved on to different hopes and dreams. There’s a sadness to seeing them, even though I’m fairly satisfied with how my life is turning out. Those books are going away. Perhaps they will help someone else who has those hopes and dreams of my younger self. […]

–Part of what makes letting go of books so hard is wondering what will happen to them. I’ll take them to the local library where they will probably end up in a friends of the library sale. I want to believe that readers will find them. I wish the library would keep them but I know that they don’t really have room for the resources that they have right now, and the move is on to more electronic resources and less paper.

–It’s the largest sadness: realizing that we are not part of a culture that values books very much and an even larger sadness in realizing how little we value ideas, book length ideas.

Kristin Berkey-Abbott, The Sorting of the Books

And so what every library worker knows and works toward, and really this is one of my life’s main raison d’êtres, is the perfection of the reference interview. Which is ever unattainable, a work in progress, the holy grail of library work. Because, as in most conversations, a lot of what happens is sidelong. Sure there is often the straightforward person who comes in wanting X book, asks for X book, and walks out with same. Wonderful, that! But often the person arrives looking for something that they can’t say, or don’t know how to say, or want to say but are too uncomfortable to say, or don’t even know that they can ask for this thing that they need. So, it is this really delicate back and forth, that must be purely openhearted, and orchestrated to not presume, to not overextend, to probe but with good intent, with a mind to privacy, a mind to empathy, and with a great deal of instinct, as to when to be blunt, or ask the really dumb or super open ended questions, when to be silent, when to nod. It’s an exercise in hope and humility and curiosity and must be filled with a genuine interest in the human before you.

Shawna Lemay, The Imaginative Listener

We disagree over documentation: starlight at noon, 
a crescent sun, too many back-shadowed moons. 
Trees fall. Embers singe our concentration, 
re-ignite our concerns amid the smoke screen.

Yet we see no conflagration, feel no coals against
our backs (perhaps only rosellas carry flame, 
only crows transmit distress). Moths, bees, ants
swarm around our feet, now rain graces our lips.

Ian Gibbins, An Introduction to the Theory of Eclipses

the sound of
data processing
house sparrows

Jason Crane, haiku: 13 May 2022

Sometimes I wonder if collecting useless facts is a form of hoarding. Controlling. Yesterday I listened to a podcast while I ran (the first time post-covid infection). I listened to Lulu Miller read her own brilliant essay titled The Eleventh Word [podcast ]. She explores the idea that our naming things actually creates an environment of fear: that by naming things, we create the illusion of control, but when that inevitably proves false we feel disoriented and afraid.

She gets this idea by observing her son as he acquires language and fear of the unknown at the same time. While I’m no neuroscientist, I think it’s more likely that the child’s brain develops the ability to predict and reason at the same age.

But the correlation here is fascinating and her argument poetic. There may even be some truth to her idea. I remember reading a long time about research that said there are emotions we don’t experience until we know a word for them. I remember it was all very controversial. But I suppose that would support the idea that we would be fearless without language?

I do know there are all kinds of research about using a second language, and the relative emotional/objective value of doing so. I have had students who keep diaries in English and tell me it is because they feel distanced from the difficult subject matter. It’s easier to think about it.

This is especially interesting because when I taught younger kids, I noticed that their “imaginative” language was English, though their day-to-day language was Norwegian. They would tell me that they were more creative in English: it was “easier”. They credited the language itself, not their relationship to it. I’ve always thought that was interesting. At first, I thought it was because they simply lacked the critical skills to evaluate their creative work. They felt freer because they felt an innocent sense of competence (invariably these kids were better at English than their parents and teachers, for example). But I think it is more than that.

Ren Powell, A Little Clutch of Deceit

Not just smoke and mirrors, but smoke and mirrors watched through another mirror, and another, and so on until the reflections themselves become a new reality, and there you are, lost, lost, lost. You can spend your lifetime feeling your way through the reflections one at a time, until you get to the end at last, and it is just a barren field. But is it? Look closer, the field isn’t barren at all. Small things do live there, rodents and insects, small plants missed at harvest, left ungleaned. There is life among the small things, life upon the dirt, and that, my friend, is where you can start over. 

James Lee Jobe, No one tells us that life is often a barren field.

after travelling
to the secret garden
it was no more
but the path went on and on
perhaps that is the secret

Jim Young [no title]

Not far from the city centre, down Mill Road, you’ll find The Bath House. It was built in 1927 as an amenity for the poor who lacked their own facilities. In 1969 a sauna was added. In 1975 when it was about to close, baths cost 10p. It’s mentioned in the odd biography and in literature – see for example Matt’s Simpson’s poem, “The Bath House”. It became a community hub where I spent much time in the Friends of the Earth office.

From the Bath House follow Gwydir Street nearly to its end and you’ll come to this shop front. The faded sign at the top reads “Roll on blank tapes”. It must have closed decades ago because it sold blank cassette tapes. I think I might have bought a tape there. Whereas the concept of a bath house might be understood by the youth of today (from Roman history perhaps) the notion of tape may puzzle them. Part of my first job in Cambridge was to do computer back-ups onto a foot-wide reel of half-inch tape.

Tim Love, Old Cambridge

How often do you consider changing your horizon? Since travel has been off the table for many of us during the pandemic, the way to change one’s horizons is considering a new hometown. For us, we’ve been thinking about moving to a smaller town – La Conner, Washington is this week’s pick.

We scheduled a time to look at a house whose best feature was its outdoor space – lots of landscaping flowers, lots of birds, and a backyard that looked onto protected land. Sitting out in those gardens – with a view of the water – was heaven. Talk about the temptation to impulse buy! But this is a house, and a big time town change, so we can’t just sign on the dotted line because the flowers and birds were showing off. There was also a guitar festival going on – and there is a local poetry festival that happens every two years – I mean, artistic and culture scores are pretty off-the-charts for a small town. Plenty of art galleries, a Northwest Art Museum, and cute shops and restaurants along the water, the Swinomish Channel. Woodinville, known for its wineries and restaurants, is no slouch in the food and wine departments, but lacks that grass-roots deep community caring about music, visual art, and literature.

Jeannine Hall Gailey, Changing Horizons, Considering New Hometowns: La Conner Edition, Moving Forward with Flare, Corona, and More Birds and Blooms from Woodinville

The Planet Poetry podcast has kept my busy lately, I think Peter and I have settled into a relaxed schedule whereby we try to produce a new episode every three weeks but if life gets in the way then four is no biggie. It’s very satisfying to research possible new guests, read their work and prepare questions we want to ask them. Then there’s the editing and then recording all the other segments of the ‘show’ in which Peter and I chew the cud and usually go a bit off-piste (interesting mix of metaphors there, are we Tyrolean cows?) If you’re a listener, thank you! We’re certainly chuffed with the quality of guests we’ve managed to ‘bag’. Last week it was J O Morgan. Apart from numbers of downloads, there’s not really any way of measuring the pod’s ‘success’ or otherwise. Ideally we’d like to get mentioned on the BBC Radio Podcast Hour, so if you have any contacts there, let me know.

I’m at a slight hiatus as regards writing. I’ve stopped fiddling with the ‘collection’ poems for now, having had some very useful feedback. Now I need/want to move onto new material. I’m doing a fair bit of background reading at the moment. The other day I was deep into an article about lighting and ventilation in British offices from 1950 to 1985. I know! But it’s actually very interesting. Then there’s the book on Roman Britain. What on earth is on the boil here? We’ll just have to wait and see. I have booked myself onto a untutored week at the Garsdale Retreat in September, during which I want to be planning and writing for the next book.

Robin Houghton, Chewing the cud & going off-piste

I’m getting very close now to the launch of Poetry’s Possible Worlds and therefore working hard on Poetry’s Possible Publicity. The task is a supermassive black hole tugging at my effort and energy, most of which will vanish without a trace–but I still believe in putting it out there. As Claudia Emerson framed it to me a million years ago (she was a visiting prof here long, long before her Pulitzer), promoting a book is part of the respect and caretaking an author owes to the writing itself. I labored over the book mightily for ten years; I can spend some more hours giving it its best chance. […]

I’m setting up events for summer and fall and would very much welcome venue ideas and news of other soon-to-launch books that might resonate with mine for a bookstore event. Poetry’s Possible Worlds describes reading poetry during a time of crisis, so it’s memoir, criticism, and an exploration of the effects of reading on our minds and bodies. It’s also a speculative book (about poetry’s genre kinship with fantasy), a grief book (beginning with my father’s death and ending with my mother’s final illness), and a story of real and figurative travel (my Fulbright to New Zealand, among other journeys). At one point this constellation of topics bewildered me–how do I pitch this monster of a book? Mostly, now, it feels like an opportunity for connection.

Lesley Wheeler, Countdown…and teaching ideas for Poetry’s Possible Worlds

I have an e-chapbook – Magnetite and other poems – out now from Wild Art Publishing. It collects bird-themed poems from my three full collections along with a couple of newer poems, and matches each piece with superb bird photography from Rob Read (the man behind Wild Art), David Tipling, and others.

Most of the poems that I’ll be reading at my Cheltenham Poetry Festival reading next Monday will be from the book, so come along to the (online) event and get a taste of the book.

Matt Merritt, New e-book out now!

First off, thank you to everyone who has shown support for Rotura (Black Lawrence Press)! Whether you’ve snagged a copy, read some of the poems online, or heard me at a virtual event, the support and connection mean a lot.

Speaking of poems online, happy to share that three poems from Rotura were featured in last month’s issue of Poetry is Currency.

Continuing the Rotura-related thread, I am excited to share this interview for Mass Poetry’s “Getting to Know” series. I share a bit about origins and influences as well as insights about the new book.

Lastly: poet, scholar, and dynamic human being, Urayoán Noel, was also kind enough to include Rotura in his article “‘La Treintena’ 2022: 30+ Books of Latinx Poetry.” Honored to have Rotura featured alongside recent collections by Raquel Salas Rivera, Rio Cortez, and Darrel Alejandro Holnes among other essential, vibrant voices.

José Angel Araguz, updates & sharing

Well, I was really chuffed when this was published in The North .67 and finally in my new collection Pressed for time. Which brings me back to May 3rd when we had a live launch for the collection in the lovely venue which is Brighouse Library and Art Gallery . For a week before, I was awake nights wondering if it was true, and if, because I’d done it before I could still do it. I was absurdly nervous about the whole thing, apart from the usual business of wondering whether anyone would turn up. I was nervous enough to write a script for my bits of the reading. These days I’m usually in bed by 9.00pm. Would I have the energy? I haven’t read aloud to a live audience for two years and more…….and so on. 

What actually happened was that twelve Calder Valley Poets rocked up to do support readings; former students and ex-colleagues from the 1970s (Northern Counties College) and 1980s (Boston Spa Comp) turned up out of the blue; poets and friends I’ve not seen in yonks came along; eldest son, daughter in law and grandson came along (and filmed it all); we sold a shed-load of books. It all went like clockwork thanks to my editor Bob Horne’s careful planning. To top it all, my friend, mentor and inspiration Kim Moore arrived (a five hour round trip from Barrow!) and read three of my poems from the collection, so I heard them as if I’d never encountered them before. Wow!

Nervous? The script went out of the window. I’d forgotten what a live audience can do. I’d forgotten how it feels, the buzz, to be flying. There’s an electricity that energises you, that overrides two years of lockdown and chemo, and I thank my stars for it. I was reading a Facebook post today from Gill Lambert, the Leeds/Airedale poet who launched her new collection A small goodbye at dawn in Haworth. She’s flying, too. Suddenly there are launches everywhere. We’ve been let out. We know how the Mole felt. We’re learning the synergy and language of company again, the sound of voices. 

John Foggin, Reading allowed or The Company you keep

I am still paused in my next writing exploit and plan to give  myself until June 1 to figure out what I am doing, what exactly I’ll be working on over the summer.  Will it be more of half completed unnamed mss #14 (I kind of have a name, but am still trying it out in my head). Or will it be the epic project, which as its name suggests, feels like a huge undertaking I am not sure I am ready to embark on just yet. Toward the end of the summer, I’ll start working on edits and finalizing automagic, which I would love to release around Halloween given its spooky, Victorian feel. However, I am still recovering from the final sprint that was animal, vegetable, monster. Over the last couple days,  I excitedly sent off signed copy orders that are still filtering in. If you haven’t ordered, keep an eye out this week, since I’ll be doing a 3-in-1 sale with other recent books.

I’ve spent this week knee deep in furniture styles (Jacobean, French Provincial, Victorian, Eastlake) and architecture details, as well as another assignment on vintage vending machine cards (this time devoted to TV westerns.) On Monday, I was downtown and thought I smelled lilacs, but realized they were the hyacinths in the planters around the perimeter of the Cultural Center.  I was able to sit in the park a little more comfortably than last week under a rein of white petals from the trees, that are now filling in everywhere you look.  I swear to god a week ago it seemed like spring would never come, but then it always does in a just a couple of warm days and spreads like wildfire. 

Kristy Bowen, notes & things | 5/14/2022

I wrote the first draft of this poem many years ago, when I was a new mother with a full-time teaching job who struggled to find time to write. At the time, my self-respect seemed to be directly correlated with my ability to produce perfectly finished poems, which rarely happened. Hence the constant state of frustration, tiredness, and befuddlement. Oh, and I should mention being saddled with an undiagnosed blood disorder that cast its own pall over pretty much everything I did. It took another decade to sort that one out. I think I may have sleepwalked through months at a time during those years, because there are whole stretches of my life that I cannot account for. But I’m grateful for this poem, which is like a little anchor I hold on to, a reminder of who I used to be, this younger endearing self I still carry inside me. I wish I could have told her, “It gets better, just wait. Keep writing.” […]

Fingers and palms are the best
to write on: phone numbers,
directions, arrows

to a lover’s heart, poems,
like now, when you’ve run
out of paper, tablecloth, napkins.

Wave good-bye
to your vanishing hand
with your writing one.

Romana Iorga, Writing Yourself Out

I wrote 30 poems in 30 days, and here are my take-aways:

1. When you write a poem every single day, you look for poems everywhere.
Interesting words, phrases, situations–everything could be the “moment of the poem” for that day.

2. You learn how much time you Actually have for writing during the day.
Turns out, most days I do have writing time–the days that I didn’t, I made the time.

3. Your poems become less precious.
Yes, many of my poems were throwaways! And that is ok–not every word leaked from my pen is pure gold.

4. You find veins of interest / connections in poems.
For me, I found a vein of writing interest about mid-month that I’ve followed, and I think could turn into a chapbook at some point.

5. You learn the value of a writing buddy.
If I didn’t have a friend to send my poems to each day, it would have been so much easier to give up! Having a writing community or even just one writer friend to cheer you on can make a huge difference.

You don’t have to wait til April to write a poem a day!

Renee Emerson, What I learned from writing a Poem a day during NAPOWRIMO

Everything about Garden Time entranced me: Merwin’s sure hand at meter and enjambment, the lack of punctuation that made his poetry seem simultaneously innocent and wise, and the way he was able to inhabit his environment without enforcing his will on it. The book foreshadowed a series of tragedies: with his eyesight failing, Merwin dictated the poems to his wife Paula, who died a year after the book was published. Then Merwin himself died peacefully in his sleep two years later at the age of 91.

The first draft of the poem that emerged as I was reading Garden Time sounded like a bad Merwin imitation: unfocused, weirdly enjambed, and self-consciously metered, as if I were trying to write a free-verse Petrarchan sonnet. But the seed of what the poem might become, if I paid enough attention to how Merwin’s poems operate, with their subtle movement and emotional distance, kept me going. 

Somewhere between the fourth or fifth draft, the presence of my late father arrived; I gave him a Merwin-esque temperament and allowed him to say a few wise-yet-innocent things. In keeping with Garden Time, I set the poem in a garden, one of my favorite places on Earth: Tilden Park Botanical Garden in Berkeley, CA. A memory surfaced: thirty years ago, when I lived in Los Gatos and he lived in Berkeley, I took a day off work and met him there, and we spent the day wandering the paths of the garden, pausing every now and then to read the plants’ captions. I remembered, with a stab of the most overwhelming nostalgia, that it was an astonishingly beautiful summer day and that the California native rose, rosa californica, was in bloom,and that my dad pronounced the day “perfect.”

On the strength of this memory, the poem took off, zipping away from its roots as a heavily-influenced piece of writing and demanding its own voice. In early drafts, I’d refrained from adding any punctuation, but now inserted commas, periods and ellipses where needed. I double-spaced the poem and let the line lengths meander, some long, some short. The finished poem still contains its Merwin influence, but it’s a whole new entity unto itself.

Erica Goss, Embrace Influences

How would you describe poetry’s role in your life? As a job, a hobby or a vocation?

For me, it’s definitely not a job. However, the fact I don’t use poetry as a means to generating my primary source of income doesn’t mean it’s any less important to me, nor does it mean my own poems are any worse (or better!) than stuff by people who do. Moreover, in my own personal case, viewing poetry as a job would kill off my capacity to write. This is because poems are ring-fenced in my mind as one of the few parts of my life in which I can do as I please without worrying about the fallout!

But then the term ‘hobby’ makes my hackles rise immediately. It insinuates I might be playing at being a poet, categorising my writing alongside stamp collecting or trainspotting. And it also gives the impression that poetry plays a secondary role in my life, which isn’t true.

And what about ‘vocation’? There’s a concern it might sound pretentious or feel like a pose, but it’s the word that works best for me. It doesn’t mean I necessarily spend umpteen hours a day writing poetry, but then I’d argue anyway that the genre doesn’t require or even benefit from lengthy periods at a desk. Instead, poems are often better for being filtered through lived experiences. My life feeds into my poetry and my poetry into my life. And that interwoven relationship is the reason why writing poems is a vocation for me.

Matthew Stewart, Job, hobby or vocation?

Don’t get too
comfortable

on the mountain —
that’s not what

it’s there for,
the old monk told

his students.

Tom Montag, THREE OLD MONK POEMS (201)

“Rookie” selects poems from Caroline Bird’s previous six collections, “Looking Through Letterboxes” (2002), “Trouble Came to the Turnip” (2006), “Watering Can” (2009), “The Hat-stand Union” (2012), “In these days of Prohibition” (2017) and “The Air Year” (2020). The last won the Forward Prize for Best Collection and she’s previously been shortlisted for The Polari Prize, the Costa Prize, the T S Eliot Prize, Ted Hughes Award, Geoffrey Dearmer Prize and has won an Eric Gregory Award and twice won the Foyle Young Poets Award and Dylan Thomas Prize. Bird was one of the five official poets at the 2012 London Olympics. The selections run chronologically. […]

“Rookie” is a carefully curated selected, showing Bird’s progression from teenage poet to mature adult. Underneath the successful humour, serious points are made about finding one’s place in life and dealing with the external highs and lows along with the aspects of your own personality you don’t want to put under a spotlight, but you also know if it weren’t working overtime backstage, the bits of you that you’re happy to put centre stage wouldn’t exist. It’s a great introduction to Bird’s work which is packed full of substance.

Emma Lee, “Rookie: Selected Poems” Caroline Bird (Carcanet) – book review

17 – If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

Oh dear, I think I’m pretty good at teaching. I can’t imagine doing something else. But that’s different from being a writer. It’s a dream to be a writer who can live on one’s publications; that’s not common as a poet. If I “had not been a writer,” I would be a different person. I’d like to think that I would do work for women’s rights. I would have ended up being that strange woman who lives alone in the woods, and people say, Stay away from her. She’s reading and talking to herself.

18 – What made you write, as opposed to doing something else?

There is no choice. Writing is hard, relentless, absorbing, possessive. When I’m working on a book, I feel bothered by it, “bothered by beauty,” as John Ashbery wrote. “No layoff from this condensary,” as Lorine Niedecker writes. When I’m writing, I’m also at my most happy—being alone and thinking and worrying over words. I often wish I wasn’t a writer; I have a naïve fantasy that I would be happier and calmer if I wasn’t. To have one job. I’m not good at other things, such as playing the flute or singing or surgery, so I’m sticking with poetry.

19 – What was the last great book you read? What was the last great film?

The last great book I read was FIGHT NIGHTby Miriam Toews. Hell yeah! That is book is a force. I loved it with all my heart: its characters, its style, its structure. The last great film I saw is The Apartment, the Billy Wilder film from 1960, which I had never seen. I love Jack Lemmon’s physical comedy, his nervy, earnest, wiggly energy. I loved the pristine secretaries battling for dignity and love within the patriarchal structure of the office. I loved the lightning-fast banter, the comebacks, the Tiffany lamps and Modern art stuck to the wall with pins of his apartment. Most of all, I loved Shirley MacLaine’s performance. Her wholehearted longing, her honest tears, her warm demeanor in the Elevator Operator uniform. I feel like we all still work at Consolidated Life.

rob mclennan, 12 or 20 (second series) questions with Camille Guthrie

We aroused and blaze-glazed cartwheeling denizens of equanimity, fierce galaxies of harmony in our hearts.

Idealistic and unjetlagged, we kung fu lassitude until it mimics the nimble ongoings of a poem’s quintuplets.

We residents of Shakespeare-tilted universes all verbed-up, whirlwinding and willing to xerox our unrestrained yodels

to create playful new zodiacs of zest.

Rich Ferguson, How we roam the alphabet’s wild jungle

I know a woman who once hated her ex with such fury that she soothed herself by imagining all the ways she might kill him. She and he did the acrimony dance through lawyers long after their finances were left in ruins. Somehow they both believed they spared their daughter, having agreed to remain cheerful in her presence. The girl surely saw the grimaces inside their smiles.

Their loathing simmered for years until their child, at nine, was diagnosed with cancer. Both parents went to her appointments and treatments. They cried and prayed and hoped together. Their daughter survived. She grew up smart and strong. She recently got engaged.  

My friend is happily remarried and her ex lives with a much adored life partner. The two couples have been vacationing together for years. They laugh, they reminisce, they dance in ways that give each couple space. They talk about buying a big house or property with two homes so the four of them can move in together. They imagine a backyard roomy enough for their daughter’s wedding. Imagine it scattered with trees perfect for their someday grandchildren to climb. They message each other real estate listings all the time.

I think of countries around the world that were once at war, but are now on friendly terms. They read each other’s literature, savor each other’s cuisines, celebrate each other’s accomplishments. Tourists visit parks where war memorials stand under flowering trees. Suffering and loss can decompose over time into something nourishing, as nature so patiently shows us.  

Laura Grace Weldon, Hate Is Biodegradable

The girl is thinner, lets the water of the river drift through her tiny hands.
What can I tell you that you don’t already know?
There are explosions somewhere close.
The girl looks up at her mother.
Aristotle tends his bees somewhere in the future.
People clear away rubble.
Some even make music and dance.
I’m sorry this is not enough.
That old line again:
Give peace a chance.
This poem is for you, about you.

Bob Mee, STREAM-WRITING IN A TIME OF WAR

talk to the wasps
trapping ideas
hunting for the impossible

Ama Bolton, ABCD May 2022

Poetry Blog Digest 2022, Week 18

Poetry Blogging Network

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: skylarks and stitchwort, politics and mental illness, pondering the use of the first person in poetry, American Mothers’ Day, and more. Enjoy!


For a year I have been thinking about getting back to fitness with each run I take but back is surely the wrong word to choose when ahead is where the gift of full recovery lies. And today the lane I am running along reminds me that neither word serves and it is only the now of the cow parsley, the fields of beans, the North Downs holding up a sun-bright sky that matters, this moment, this breath  

here now
stopping to listen
to the skylark’s song

Lynne Rees, Haibun ~ Words

Whatever the cause and whenever it began, I am grateful that in this week in which we are reaching, again, for Mary Oliver’s “Of the Empire,” I used my time to eat slow dinners with my family and care gently for our dying dog and meet my students with compassion and skate until my body broke a sweat and sit on our front porch in the early evening sun. I am grateful I had space to write these words for no one but you and me and to imagine going back in time and taking aside that struggling, striving woman I once was and telling her this:

You don’t have to earn your right to be here, to take up space on your little speck of the planet, for the blip of time that is yours. You have no more obligation to the world than a tulip or hummingbird or raindrop does. You, too, get to just be. Make your choices knowing that everything you have and do and love will pass. Everything. The best way to serve the world, probably, is to grow and be guided by a heart that is large, and soft, and full of kindness. That’s a project it will never be too late to start, but the sooner you can, the better. Maybe don’t be so slow with that one, yeah?

Rita Ott Ramstad, Slow Going

I came this way a day ago
and thought I heard a flock of angry geese
it was the screech of machinery
a tractor and plough

today harrows
have broken up the clods
and shattered stalks of maize
litter the furrows

white drifts of stitchwort
in the narrow field-margin
vetch and speedwell
buttercup and herb-robert

Ama Bolton, Sunday walk

You can leave your hometown but still feel a loss when it is wiped out by a tornado.

But these tears are for my grandmother’s America which seemed to be on a path towards a more compassionate culture. When I was in high school, my grandmother thought that the local segregated schools were appropriate, and she once dragged me out of a theater performance of Mahalia because we were the only white people in the audience. She wasn’t a forward-thinking woman. But by her 80s called to tell me about a “brilliant young man” she was going to vote for named Obama.

My grandmother went to church twice a week as long as I was alive. Well – until the pastor retired and a young guy took over and preached that it was the wife’s job to “obey”. That was the last time she or my grandfather went to church. She thought it was a weird glitch. She didn’t imagine it was a harbinger of something that… is here now.

I am glad she didn’t live to see this. This promise of death for the women who grew up the way she did. Hand to mouth. No bus fare to a safe clinic. No safety net of people who will help. Who care. My grandmother didn’t need to say that her friend could have been her. And knowing what I know now about my grandmother’s life, I wonder…

Ren Powell, Sorry for the Discursion

There are people who consider it their job to argue about politics. Fine. I let them. There are American-made celebrities who are so ripe with their own importance and wealth and the rushed necessity of using their “platform” (I dislike that term) that they simply must talk of such things. I am neither of those creatures and prefer to go on using what art I possess to make beauty and truth (though what I make is not devoid of thought and may be known, surely) and so add to the sum of what is good in the world. That is what you might label as my politics–to stand against evils and blight by working in my small, nearly anonymous way to add to that sum of truth and beauty.

Marly Youmans, On being asked for my politics

The schools in Helsinki are on strike, so the kids and I are at home. It feels strange to be in a union and on strike after 30 plus years of working freelance or low wage jobs. Schools in Finland only had the first 6-week lockdown due to Covid, but have stayed open since, so it feels weird to shut them for this. But necessary. 

I’m not sure how long the strike will last, a week at most at least to begin with. I can’t do school work and can’t do much of my research project beside go through literature, but I have so much I want to do, I need to read for my course tomorrow, plant potatoes and onions, tidy the garden after cutting down a tree, clean the house (ok, I don’t want to do that, but it needs doing) and write, of course. 

Vappu (May Day or Beltane) was cold as usual. We tried a picnic with our Scottish Society friends, but it was short-lived. […]

It has felt non-stop with worries these days. Climate change, Covid, Brexit, Ukraine and Finland wondering whether to join NATO and now the possible repeal of Roe vs Wade. I tend to keep away from the political here as it’s so overwhelming and I need a respite, but it feels like we’re sliding towards something dark and omnipresent that’s slowly consuming us.

I started a list poem about the time the Amazon and Australian fires were happening, a list of ‘I can’t breathe’ lines, each a body blow of breath-stopping events from across the world, from George Floyd to the streets of Bucha. It keeps growing, saddeningly. I see no signs of being able to stop writing it, but I need to speak up in my small way.

Gerry Stewart, May Days: On Strike, Out of Breath

PP: What do you consume that keeps play alive for you? What’s the secret to staying so alert?

GB: One of the things that keeps play alive, that helps me feel the possibility of exploration, of being open and also transcending my own self-imposed limitations is error. By making mistakes, but not trying too hard not to, and by being open to what they might suggest, I’m often shown another way to proceed, to consider something that I might not have. Another practice is collaboration. I continually collaborate with a wide range of writers and creative artists. Through this engagement, I can’t hold on to my preconceptions, or my ownership of work and processes, but instead have the opportunity to follow this new process, these other ways of conceiving of the work and the creative process. Of trusting the writing itself and the collaboration. I do try to work on craft and at getting better, to be able to do more things and do them better, but at the same time, I make a point of trying new approaches, of learning about other ways of writing and other approaches. I try to pay attention to what interesting writing is happening or has happened. I try to watch with three eyes and clap hands with one.

Pearl Pirie, Mini-interview: Gary Barwin

When this latest dark period struck, the intensity took me totally by surprise. I’d certainly had dark periods before; 2020, for example, saw the end of what I thought would be a lifelong relationship and the start of my life in a van. But this was something different. It was debilitating in a way I hadn’t experienced since the breakdown that put me on meds in the first place.

This period also coincided with National Poetry Writing Month, aka NaPoWriMo. I decided to participate. Over the years I’ve likened poetry and Buddhist practice, in that both help you see the world as it is. That can be great, but when the world is a pile of poop, writing a poem every day is less about observation and more about being slowly buried. Art can amplify the bad as well as the good. Looking back at most of the poems I wrote in April, I can see a terrifying darkness and despair. And I wonder whether writing a poem every day was less about processing and more about wallowing.

Somehow, for reasons I can’t even begin to name, that dark blanket lifted after two weeks, and I’m doing much, much better now. I’ve accepted the reality that I’ll have to live in my van until summer, when I can afford to rent an apartment. I’ve begun to adjust to my office job, and even to find comfort in the nice folks with whom I work and the access to a bathroom and a tea kettle and a paycheck. I can look ahead to a time when I’ve got my own place and feel more stable and secure.

This year’s NaPoWriMo gave me a lot to think about concerning the relationship between my writing and my state of mind. I’ll definitely exercise more caution if this happens again, and I’ll try to pay more attention to the interplay between art and emotion.

Jason Crane, The Art Of Despair

A post I wrote in September of 2018 titled, 10 Poems for Loss, Grief, Consolation has been consistently the top post here on Transactions with Beauty. It has always been popular, but in the last two years, as you can imagine, the stats on this post keep growing. In my intro to that post I said that I hope you had no need of the poems at present. But the thing is, we have almost all needed them, or at least, we have all experienced loss of some sort these past two years, we have grieved for not just our loved ones who have left us, but for so many things. So. Many. Things. We have needed consolation but I would wager that you have also consoled.

The second poem I included with my 2018 post was my own In Lieu of Flowers which can be found in my book The Flower Can Always Be Changing. (My publisher has copies if you need one). And that poem is everywhere — including on a list of poems about losing a loved one on Book Riot.

As of today’s date, the sobering news from CBC: “The World Health Organization is estimating that nearly 15 million people were killed either by the coronavirus or by its impact on overwhelmed health systems in the past two years, more than double the official death toll of six million.” It’s difficult to think in such big numbers, to feel. As the poet Wislawa Szymborska said in her poem “A Large Number,” “Four billion people on this earth, / but my imagination is still the same. / It’s bad with large numbers. / It’s still taken by particularity.” And many of us don’t need to use our imaginations, we know the particularities. We are familiar.

Shawna Lemay, 5 More Poems for Loss, Grief, Consolation

As if I sit, silent, fishing gear suspended over dry
earth, the ocean, far away, pushing against an

indifferent shore. While all the love has escaped
into the sky and become the sun, the sharp May

heat a reminder of what it could be like, closer,
higher, if we dared to leave the shade. I dream of

asking the questions that matter. Not looking for
answers.

Rajani Radhakrishnan, The conviction of jasmine

In 2018, at the 100th anniversary of World War I, the Great War, the war to end all wars, I immersed myself in lots of WWI reading and movie-viewing, sort of curating a WWI film festival for the library. So I was well aware of the famous carrier pigeon, Cher Ami, and how she saved the Lost Battalion. And also how she was misunderstood as a “he.” Hence, the male version of her French name. 

Kathleen Rooney develops all this so beautifully in Cher Ami and Major Whittlesey, also giving us a full look at the major who led his men into the Argonne Forest, following orders, and doing it brilliantly and efficiently, thus, accidentally, leading many of them to their deaths or maiming. Alas! Part of the charm of this book is that the chapters alternate in point of view, between the pigeon and the major. It was easy to believe in the way pigeons might “think,” how their homing instinct might work, and how consciousness continues–especially if you are taxidermied and live on in the Smithsonian Institution. 

So probably Cher Ami pre-disposed me to pick up Dr. Bird’s Advice to Sad Poets, to find out what a real pigeon/imaginary therapist might “say” to a depressed high school boy. Also, sometimes I am a sad poet myself. And I do love this book’s cover (see above; at hand is the movie cover). I am glad that the boy also gets a human therapist. I watched a lot of movies over the past few years, but only today did I realize that Dr. Bird was released as a movie in 2021. (You can watch it on Hulu. But I can’t.) I liked how the humor in this book ran gently under the depression and family dysfunction, and I loved Dr. Bird!

Here in real life, the sun has come out! I am clearing out gardens, looking at the pink and white bleeding heart and dark lilacs, and birdwatching. Coincidentally, my parents have actual nesting doves at their house!

Kathleen Kirk, A Coincidence of Pigeons

The other day, poet Matthew Stewart tweeted this, sparking off a very interesting discussion about the use of the first person in poetry, and the frequent assumption by readers (and Matthew was talking specifically about critics) that this is the poet themselves.

I don’t have a great deal to add to it, but I do find it odd that this assumption gets made with poetry by people who have no difficulty in accepting that a first person narrator in a novel is not necessarily the writer themselves.

That said, I wonder whether it’s also a question of degrees for poetry readers? If the poem is written in, say, the voice of a historical character, or an animal, the reader has no trouble knowing that the “I” is not the poet. Does the problem occur mainly when the “I” is not the poet, as such, but a character not that far away from them?

Matt Merritt, The first person in poetry

(after Billy Collins)

I think the poem speaks for itself. But for clarity:

When I say ‘I’,
I do not mean me.
Except when I do.
Or when I didn’t,
but it turned out
it was me anyway.

Oh, and whether ‘I’ is me or not
does not mean any of the things
in the poem actually happened,
or that if they did, that they happened to me,
or to anyone in particular.
Though they probably did.

So, for the record:
‘I’ may not be telling the truth
and this will be deliberate.
This may be for the purposes
of a greater truth,
or that I just don’t want you to know the truth.

Anyway, I think the poem should be clear now.

It’s called ‘Me’.

Sue Ibrahim, Introduction

I like writing
a poem that does

what it does
without me,

the old monk said.

Tom Montag, THREE OLD MONK POEMS (196)

Imagine this: A line of women poets stretching back, back through history, back through through layers of crinoline and taffeta and silk and underskirts and corsets and back, and back through kitchens and studies and libraries and maid’s quarters and milking sheds, back and back, all the way back to the oral traditions, to the women we can’t name, the anonymous women of history, their poems; their voices lost. This week I’ve been thinking a lot about those women, and the tail end of that link that is me, and how I sit here, how I am attached and connected to this line, how I sit alongside the other women poets that I know. Last night I met with my regular Fettling group. This is a group I set up a while ago. It’s a small group of just eight people, who meet every two weeks, and the purpose of the Fettling groups is to really focus on moving poems forward with group discussion, but also to find new ways to invigorate the way that attendees write, to find new ways of taking risks and pushing boundaries and comfort zones. Of all the groups, workshops and courses that I run, this is probably my favourite. Last night I brought along some wisdom from Eavan Boland. We discussed the ‘domestic poem’ and the revolutionary act of writing about interior life; how these mostly female spaces had been marginalised, de-valued, how poems about these places were perhaps devalued too, in the wider context of the poetry ‘community’, how that might, in turn, put women off writing the ‘domestic poem’ for fear of not being taken seriously. And then we took the radical act of writing a domestic poem, based on a painting by Eric Bowman. We talked about the term ‘poetess’ and the way that it’s purpose is to highlight the feminine of the poet, how it has become something of a criticism, or at the very least a condescending term that ‘others’ the woman poet, dividing her from the flock and herding her away. There is something to be said for this sort of contemplation, alongside being prompted to write, there is something necessary, at least for me, in accessing the thoughts of other poets in the development of my own self, in terms of becoming a poet. The wisdom of other poets is crucial to me, it connects me to the poets that have come before me and especially to the women poets and authors upon whose shoulders I am standing, precariously, and hoping that I am doing a good job. It was good to be in a group sharing this with other poets. There is something special about the way that a small group can meet on zoom, and open themselves up, how the intimacy of the safe space means that poems shared become as much about craft as they are an acknowledgement of the experience and process of creating the poem.

This morning I read this quote:

I like to think that the customs of friendship, as well as the loving esteem which are so visible in the communal life of women, will become evident in the practice and concept of the poetic tradition also. That women poets from generation to generation, will befriend one another. Eavan Boland

That’s what this is to me, this slow journey to myself. I am finding the connection to other writers and especially women writers and poets to be a kind of befriending. I feel welcomed into this long line of poets, this long line of women writers, and I am cherishing their wisdom.

Wendy Pratt, Women Asserting their Place in Poetry

Windsor, Ontario-based poet, editor, writer and critic Nicole Markotić’s latest full-length poetry title is After Beowulf (Toronto ON: Coach House Books, 2022), a book of simultaneous translation, transelation (as Moure coined it, via her 2001 Anansi title, Sheep’s Vigil by a Fervent Person) and reimagining of the classic Old English poem Beowulf (c. 700-1000 AD), rifling through a myriad of forms as a way through her own reading of an ancient poem imagined, interpreted and reimagined from Seamus Heaney’s translation to an episode of Star Trek: Voyageur. Reworking one of the earliest of epic poems through English and Danish traditions, there is a swagger to Markotić’s lyric, one propelled by both character and the language, writing a collage of sound and meaning, gymnastic in its application and collision. As is well-known, the old stories adapt themselves to our requirements, and update to meet and suit us [see also: my review of Helen Hajnoczky’s Frost & Pollen, which includes a reworking of The Green Knight], and Markotić works her assembling of language, lyric and permeations of English into a kind of Frankenstein’s Monster, stitching together scraps from a variety of prior adaptations, and a language-hybrid that blends contemporary banter with Old English. “Herewith trespasses / Grendel – no introduction – breaks into / the Introduction,” she writes, early on in the collection, “foul foundling, heaping with narrative potential / (contrast: that ‘one good king’ / repeating line, colossus-driven) / his celebmentia gains real estate / then fades to black, fades / into macabre backstory.”

rob mclennan, Nicole Markotić, After Beowulf

Marianne’s poem is published on the Tinywords website and it appealed to me because I love collecting bits of unusual paper (I have a carrier bag full upstairs). I’ve done a bit of collage, but always thought of it as separate to haiku. Having seen her work, I feel inspired to do something similar, although I’m well aware that there’s a huge amount of time gone into her piece – it’s not just the making, it’s the thinking behind it. These days I’m wary of setting myself up to do something I don’t have time to achieve! Still, her work will stay lodged in my head until the right time comes along.

Similarly with Bill Water’s work, I can see there’s a good deal of time spent not only on the crafting of the fairy doors, and the haiku that go with them, but also positioning them, finding the right space/ environment/ backdrop (call it what you will). Bill has many poems on public display and I like the generosity of that.
Both of these pieces seem to have a playfulness about them. ‘Playful’ is a word that is often applied to art, suggesting some sort of trick, or in joke, but I think in this instance, it’s in the creative process itself; the fun that was had in the making shines through.

Julie Mellor, thread of light

Although not back to how it was before the pandemic, I am increasingly venturing out in the world to attend poetry events and readings, as well as still going to online things. Trowbridge Stanza, the monthly poetry group I organise, is meeting in person again, although not monthly, as we previously did, but every other month (this might change in the autumn). I went to an interesting talk about The Wasteland at Bristol Library last month, part of Lyra Poetry Festival. It was so great to be out and about and to travel home while it’s still light. Spring brings such longed-for delights. I felt the same way last Wednesday in London for a launch of Kathy Pimlott’s debut collection the small manoeuvres (Verve Poetry Press). I’ve followed Kathy’s poetry for several years, bought both of her pamphlets from the Emma Press, and long-admired her precise, original, engaging poems. Her poem ‘As You Are 90, I Must Be 65‘ is published at And Other Poems and is one of those I nominated for the 2019 Forward Prize for Best Single Poem. It was just terrific to hear Kathy read, she has an assured and unshowy performance style that held everyone’s attention last week in the rather beautiful setting of the Phoenix Community Garden which is (amazingly) hidden within the heart of London’s West End.

I was also impressed by readings I heard at the online launch of books by Betty Doyle, Qudsia Akhtar, Erica Gillingham and Nicki Heinen (all Verve Poetry Press). Unfortunately Nicki couldn’t be there but Geraldine Clarkson read some of her poems, as well as poems of her own. My overwhelming feeling at this event was a feeling that poetry has upped its game since I was last at a reading (pre-pandemic). These are strong, strong poems. I was similarly dazzled at the launch of books by Anita Pati, Jemma Borg and Denise Saul (Pavilion Poetry Press). I will be surprised if at least one of these aforementioned poets isn’t on one or more of the big poetry prizes this year.

Josephine Corcoran, Out and About Again

I’ve written before on this blog about the excellence of Kathy Pimlott’s poetry – a review, here, of her first Emma Press pamphlet Goose Fair Night (2016). Kathy’s second pamphlet, Elastic Glue (2019), was just as good, and contained several poems concerning the gentrification of her neighbourhood of Covent Garden and Seven Dials in central London.

I was therefore delighted to be able to attend the launch, on Wednesday at the lovely setting of Phoenix Garden, of Kathy’s first full collection, The Small Manoeuvres, published by Verve Poetry Press and available to buy here. It was a very enjoyable evening, which included Kathy reading some of the fine poems in the book.

Like the two pamphlets, the poems in The Small Manoeuvres are full of Kathy’s clear-eyed perceptions, a palpable sense of social justice, deep respect for family, friendship (especially amongst women), history and memory, and finely-drawn character studies. They are, in the best way, very readable poems, without any irritating tricksy-bollock nonsense. For these reasons, Kathy is among my very favourite contemporary poets.

Matthew Paul, On Kathy Pimlott

Diabetes has not defined the speaker but it is part of who she is and managing it has forged the adult she has come to be. Her achievements have not come despite her diabetes but because of its successful management.

“Blood Sugar, Sex, Magic” is a contemplative journey from childhood to adulthood of life with type 1 diabetes. Sarah James has a compassionate ear, she never turns to self-pity even when being mocked or describing the sense of unfairness at being disabled: having plans go awry or letting people down because of her diabetes. It’s a journey through acceptance and learning to live with its consequences through powerful, thought-provoking poems.

Emma Lee, “Blood Sugar, Sex, Magic” Sarah James (Verve Press) – book review

In his recent book Singer Come from Afar, Kim Stafford suggests the difference between great poems and important poems has something to to with the occasion of their relevance. He says important poems “are utterances written as a local act of friendship or devotion, and given to a person, shared at an occasion, or performed in support of a cause.” Such a poem may later be considered a great poem, though more often would be relegated to the status of “an expendable artifact of the moment.” Framing poems as expendable artifacts does seem accurate in many regards. A page, that can be burned or shredded; an oral performance, uttered into time and lost thereafter; a digital event, that can be corrupted or invisibly archived in the “cloud”–those fragments and unfinished pieces we let languish and eventually discard. Perhaps important to us once, these poems are ephemera.

Stafford’s recent collection celebrates the local and the relevant, even the immediate, at the risk of not being lasting, whatever that may mean. Published in 2021, the book includes a selection of pandemic-related poems, many of which appeared on his Instagram feed @kimstaffordpoetry. Few of these poems are “great” in the literary sense, in my opinion, but that doesn’t mean they are not worthy of publication; this reader appreciates the urgency in the pandemic poems, the need to connect with others sharing the predicament of “social distancing.” We should not ignore the value of local, person-centered poems, narratives of the everyday. Not every human interaction requires epics, and really–the majority of contemporary poems address the small important events and metaphors that sometimes resonate with larger aims. My own work tends that way, so I’m not one to talk about greatness.

Besides, there are a couple of poems in Stafford’s book that will hold up well to literary explication, poems I have already enjoyed re-reading, such as “Chores of Inspiration” and “Do You Need Anything from the Mountain” with its lines “Bring me that skein of fire/that hangs in intimate eternity, after//the dark but before the thunder, when/the bounty of yearning in one cloud/reaches for another…”

I guess each of us has the capacity to evaluate what it is we consider important and what we consider great. I happen to like the bounty of yearning in Kim Stafford’s clouds.

Ann E. Michael, Important

ND Poet Laureate — 1995 until his death April 28, 2022

While much has been and will be said about this remarkable poet/writer, his ability to be intensely present will be his legacy for me – and a personal reminder to carry that forward in my life. He gave 100% of himself to the conversation or the moment. Like when he said to me, “Sit on this side. That’s my good ear and I want to hear everything you say.” In a world overrun with too many distractions, let’s agree to always give others our good ear and be intensely present.

Bonnie Larson Staiger, Honoring the Memory of Larry Woiwode

Out of the corner of my eye, and not on the syllabus, a small green book, left lying around under ash by Squirrel. I ask to borrow it, take it everywhere. Poems that take my breath away. Wishing I had done him and not Ted Hughes.Poems I have been waiting all my life to read, falling head over heels instantly, insanely. That vase. Somewhere becoming rain.

And now this. A wasted first year, a disappearing act in the second, playing catch-up in the third, just as I realise this might mean something. Mrs Dalloway. To the Lighthouse. Jacob’s Room.

Their greenness is a kind of grief. Oh yes. Like something almost being said. Chatting up Molly at the end of year drinks, Dutch courage mixed with fear, knowing it would come to nothing. Having wanted to say something for three years. Always in the row just behind. The almost cutting through me. Words at once true and kind. Greenness. Grief. A lesson in almost. And now the future.

Anthony Wilson, Lifesaving Lines: The Trees, by Philip Larkin

One thing that took my mind off of the abscess/root canal business was that my author questionnaire for BOA was due on my birthday, and then the finished draft of my manuscript of Flare, Corona was turned in a half-hour before my root canal a few days later. (I knew I wouldn’t be up to much the rest of that day, because they give me some anesthesia – Versed – for the root canal that doesn’t take away pain but does make your memories fuzzy and makes you very sleepy the rest of the 24-hour period. Also keeps you from flinching as much when they’re trying to drill your teeth.)

I’d been working on the book since its acceptance, so there wasn’t much left to do: shifted some poems around, updated the acknowledgements, added a couple of newer poems, and had my mom proofread for obvious grammar/spelling issues, and sent it off to my editor at BOA. Now I just have to wait for edits – exciting! You may think: “Jeannine, isn’t it awfully early to be thinking about your book which is slated for release in spring/summer 23?” But no, it’s really not! My next steps include finding good cover art and starting to collect blurbs!

Jeannine Hall Gailey, A Root Canal Birthday Week, Work on My Upcoming Book, and Talking about Timing and Poetry Submissions

got my voice back
it was there all the time
one has to be phlegmatic
and curtail your expectorations

the swim to cure my cold killed me
the swim to kill my cold cured me

acute coryza is such a violet word
don’t you think

Jim Young, cold comforts

I’m working on the premise of circa 25 poems will make it in. The current list is at 27, with four more backups. There is so much to do, each one will need its tyres kicking to make sure it’s as strong as it could be, even the more recent ones where I think my writing has improved.

They’ve all got to earn their place, so after (or is it before) the above there’s the process of seeing how they talk to each other. Do I want sections? It’s sort of loosely fallen into 3 sections so far, but are they something to be called out? It seems like overkill in a pamphlet to me, but who knows if that will change? Do I need a theme? No, I don’t think so as yet. Not least because that probably means more poems need to be written and at the current rate of knots I wouldn’t be ready for 3023, let alone next year. Also, as much as I love a themed collection, it can get a bit samey. I don’t have a theme as yet, so it would be forced.

I’ve just reviewed a debut pamphlet by someone where the work seems to either have been written circa 2008ish (at least when it was first published somewhere) or more recently during lockdown, etc (based on the themes of the poems). I can’t tell which poems fell between those dates, but it feels like an old-fashioned debut of the best poems you have available in the best order and that is just absolutely dandy with me.

There will be loads more prevarications, changes, questions, pacing up and down, heavy drinking (not essential, but I like it) and the like to come, but this feels like day one, a marker in the sand, etc.

Mat Riches, The work starts here…

What is it to be a “Southern” poet? Is it merely where you were born? Is it what you write about, or a style of writing?

Let’s say someone lives most of their life in California, and moves to Tennessee. How long before they can call themselves “Southern”?

With all of our moving, I feel a bit displaced as a writer. When I first began writing, I would solidly claim to be a Southern, mid-south poet, but now, when I type out my current address on a submission, I wonder what I can really claim.

How do you define regional poetry? By the poet being from there, currently living there, or writing about the place?

Renee Emerson, What makes a Southern writer “Southern”?

Somewhere around 2010, I taught a class in our four-week May term on writing poetry in forms. One project we did together: after reading more serious haiku and renku, my students had to staff a public booth and write haiku on commission in exchange for donations to the local foodbank. This involved interviewing clients about the messages they wished to send; composing custom haiku based on the interviews; and transcribing them on pretty postcards the clients could send to whomever they wished. To give my students practice in advance, I had them interview me about my mother, and I sent their haiku to her in time for Mother’s Day.

To my amazement, my mother wrote haiku back to my students (English 205). I spotted the sheet earlier this year but wasn’t in any frame of mind to reread them, so I resolved I would pull them out for Mother’s Day 2022. It feels uncanny to hear her voice in them now. She references my daughter dying her hair blue at thirteen; after returning to blondness for more than a decade, my twenty-five-year-old daughter has recently gone blue-haired again. The Lydia in the last verse was my daughter’s closest friend then (I have no idea about “handsome poopface.”) The “cheeky, cheeky boy” is my son Cam (twenty-one and still cheeky).

My mother was a reader, not a poet, other than on this occasion (as far as I know). I’m grateful to have this gift now and smiling as I remember how she upstaged me every Mother’s Day after my kids were born–phoning early to wish ME happy Mother’s Day before I managed to call her.

Lesley Wheeler, My mother’s haiku

We all came from mothers: we have something in common.
Our first act almost unspeakable 
hurtling towards bright lights, causing our Other shrieking pain.
Mothers let us off the hook — 
it wasn’t really our fault —
the pea-green stuff was cleared off, we sucked from the core of the earth,
nestled, smiled, were cutely dressed, learned the Hula hoop, read Nietszche, 
or learned to shoot, worked EMT 
or spent years shooting hoops, opened a laundry

How ridiculous the way life steps in to scatter one ur-motherhood story
it cannot be mastered
as every “birth plan” and over-imposition will veer off course

Let each birth be
or not  
as it wants 

Jill Pearlman, The Howl of Motherhood

Today is Mother’s Day, and I’m thinking about my mother-in-law who passed away this year on April 1, just a week after her 88th birthday.

She spent so many holidays and other visits at my house, and although I would not say she was like a second mother to me, she was a positive presence in my life, and she imparted her tidbits of elder wisdom to me and our family over the years.

At the end of yoga class yesterday my teacher wished us a happy Mother’s Day, and I responded that I wanted to wish her a special day, too, because even though she never gave birth to a child, she has nurtured me and many others over the years as her spiritual children.

I’ve tapered off the anti-depressants that I’ve been taking since my youngest son was three months old. For almost thirty years I’ve been on one kind of SSRI or another, all stemming from severe post partem depression and then ensuing trauma.

Maybe because I’m off the meds, a certain kind of pervasive sadness has returned. I’m trying to work my way through the fatigue and mild anxiety in the hopes that my body will re-learn to regulate itself and I can learn how to let these moods come and go without latching onto the idea that I need the SSRI to cope. Thirty years on these meds is a long time. I want to give my body a chance to heal on its own.

What helps me is going to yoga class with my beloved teachers, listening to guided meditations, and being outside under the wild waving trees who stand sentinel over my garden, these oaks and pines that quiver with nonjudgmental aliveness. And tea. Tea steeped in my MIL’s pot.

Christine Swint, Mother’s Day and the Blues

Thanks to “Range,” the book I reviewed in last week’s post, I recently made the astonishing discovery that in 18th century Venice, there was a famous orphanage called the Ospedale della Pietà (Orphanage of Pity) that became known for producing some of the world’s most accomplished female musicians. For some reason, I was captivated by the detail that outside of the orphanage, there was a stand of drawers. If a baby was small enough to fit into a drawer, it could be left there, and when the drawer was closed, a bell would go off and one of the nuns would come and collect the baby. Many of the babies left there were born of ladies of ill repute, but some were illegitimate children born to members of royal families. The story of how the orphanage developed their young musicians is fascinating, but not as interesting to me as pondering how many times a day that bell rang. I imagine early-morning misty Venetian skies, the mournful sound of the bell, and the mother scuttling furtively away, her figure hidden in a bonnet and voluminous skirt. There is a whole other story to be told there aside from the virtuoso musicians.

Kristen McHenry, Bells of Venice, Latent Strategist, Too Far In

Welcome to the Sunday edition of the pig and farm report. It is bloody cold out here on the island 41° this morning. My lilacs refuse to open my herb garden looks like the saddest bit of vegetable you find in the bottom of your refrigerator bin in autumn and forget about planting tomatoes those ruby beating hearts. Still it is unbearably beautiful when the sun shines and the rain makes my yard smell like the most intense lovely day you can imagine from camp in utter girlhood. Bunnies are still hopping about deer still play statue in the yard and the rhododendrons that grow everywhere in my yard carry on voracious and bright. Spring continues in spite of wool trousers cashmere sweaters heavy blankets and the propane fire blazing from dawn until bedtime not to mention snuggly cats. 

Today is difficult for me. The echo of mother precious mother that is everywhere today strikes my ear as vinegar my mother being the sort of person to prove that just because you can procreate doesn’t mean you should. I guess that’s all I have to say about it but those who know know and those who don’t carry on believing that we all had brilliant loving parents. I did go to the grocery this morning and the smell of flowers and guilt for sale at every cash register was palpable. I listened to John Lennon wailing on my car radio on the way home. Maybe all my dials really have flown off. 

That’s it for today. Look how beautiful my front yard is blazing in frozen sunlight.

Rebecca Loudon, Pig and farm report

Why her mouth always twists
every question into a story. Why the story
wants to pull out everything that is past.
Why the past can’t seem to figure out
it’s only a difference in the SIM card, if at all.
Why all the data in a chip cannot house the world.
One type of world wants to be touched, but never
tasted. Another is entirely made by a frenzy of moths.
Why the paper doll lost its hat, traveling in the mail.
She doesn’t know how to tell the mother
who made her that she will likely never arrive.
The other mother is more like her. She is faithful
to the one script still legible in her mind.

Luisa A. Igloria, The Causative

In this dream I gallop, trot, and prance. Yes, that’s right. Actual prancing. It feels good to be a fast horse. In another dream I was a moose, and in still another I was a dog. There may not be an exact explanation, but there is this – it always feels pretty good. Excellent. In this dream I am a fast horse, moving swiftly across a grassy prairie. The bright sunshine is warm and fine on my back, and when I awake I see the saddle and bridle waiting silently beside my bed.

James Lee Jobe, In my dream I have somehow become a fast horse.

Every morning, the sun manages to find our one good vein, and delivers its dose of roaming gold.

Radiant blood enriches the senses. Dharma oxygen feeds the foolish heart.

Call us dream addicts, jonesing for the promise of another day.

Joy’s ever-wandering junkies searching for that shimmer of clear calm beyond the bottle, bullet, or bad decision.

Lift our bones into the light, their carbon hopes shining.

This life, this love.

When we’re ash, glue us into the book of good intentions.

Rich Ferguson, Roaming Gold

Poetry Blog Digest 2022, Week 16

Poetry Blogging Network

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, a very full digest (urp!) with all the great themes in play: love, death, time, war, NaPoWriMo, etc. I’m a little sad that there’s only one more week of April!


before coffee or cricket before
the bullfrog’s unholy racket
just a book a cat staring at me
with her bright constellations
and my wrist’s constant throb
it is in this quiet that I remove my
head arrange it among corn
flowers and baby’s breath
in the florist’s refrigerated
case breathe the promise
fragrance of gardenias in boxes
rose cramped arrangements
elephant shaped vases for the ill
I’ll return for you at nine
I tell my empty skull
don’t worry I tell my blue
blue eyes I’ll always come back
I lie without blinking and close
the soft fleshy door

Rebecca Loudon, April 20.

Dear Camilla,

Fingers crossed this letter finds you in good health and still enjoying poetry!

I’m afraid I can’t quite remember your face from my reading at the New Park Centre four years ago, though I do just about recall resisting a dodgy joke about the royal family while checking the spelling of your name and signing your brand-new copy of The Knives of Villalejo. However, I’ve been thinking about you a lot these past few days, ever since my friend spotted that very copy at the Oxfam shop in Chichester last week and whizzed a photo of it over to me.

On the one hand, I hope you enjoyed it and then passed it on, rather than regretting your purchase. And then, of course, I hope that you yourself chose to give it to Oxfam. Far too many books in charity shops are from personal libraries that have been dispersed by relatives (see my blog post about Peggy Chapman-Andrews from a few years back).

And on the other hand, I’m writing to thank you for granting me this poetic rite of passage: the first time my book has been spotted at a charity shop. I’m pleasantly surprised not to feel annoyed at all that it might have been discarded. Instead, I’m excited to wonder about the prospective new life it’s been granted. As soon as I get back to Chichester, I’ll be popping in to the Oxfam shop to find out whether it’s found another owner.

In other words, I’m proud of joining the ranks of the charity shop poets. I’ve always loved second-hand books, and my collection’s now among them! For that, Camilla, I’ll always be grateful to you.

All the best,

Matthew Stewart

Matthew Stewart, A letter to a reader

iii.
After salt, tap water
tastes almost sweet, still
like nothing, flavored
with memory more
than with anything.

iv.
From the living room,
giggles (cat like tread,
is everybody
here?), the playlist faint
and set on repeat.

PF Anderson, 5 Answers

I wanted to write about writing about being in love. I thought I could write something grateful and insightful and intelligent. It turns out I can’t. In the end you simply have to sit down and do it and let it be what it will. This I learn from the to and fro of Kim Moore and Clare Shaw egging each other on to stick to their NaPoRiMo challenge via Facebook. They are each distracted by children or by work or by tiredness and still they do it. A couple of days ago each of them posted a piece for which the prompt was the challenge to write a love poem. […]

And that was the year
I made you paper hyacinths in a paper box
painted with hyacinths , and a poem for its lid.

I suppose I was thinking of cruel months
and hyacinth girls, and unexpected rains.
I was thinking of surprises. I was not thinking at all.
I was in love, and in various ways I am, still,
and thinking how we have assembled things around us
and cannot bring ourselves to throw away anything.
These cards, those bits of ribbon, these fragments.

John Foggin, Words of love

April 21st (Thursday just gone) was World Curlew Day. Curlews (or Eurasian Curlews to give them their full name) are one of my favourite species, but sadly are in steep decline. In the last few years, they’ve disappeared from a couple of areas where they previously bred on my old local patch, and the news isn’t generally good elsewhere. Related species such as Whimbrel also face pressures, and of course the Slender-billed Curlew has effectively gone extinct within the last 20 years.

All of which means World Curlew Day is a thoroughly good thing. One thing I learned on Thursday was that the date was chosen, according to the Welsh Ornithological Society, as it’s the feast day of the 6th century Welsh saint Beuno, who blessed the birds and said that they should always be protected. That sort of thing is a bit of a recurring theme with Dark Ages saints – St Cuthbert, for example, was supposed to have protected Eiders, and was also tended to by Ravens and Otters, among others.

Among other things, St Beuno is supposed to have been to have been so appalled to hear the English language being spoken that he went as far west as he could (the Llyn Peninsula) to found a monastery and get away from the uncouth Germanic invaders. I wrote a poem about it, that appeared in my second collection, hydrodaktulopsychicharmonica.

PS I’ll try to post the poem some time soon, but I’ve mislaid my copy of the book. 

Matt Merritt, World Curlew Day

Joseph Bathanti’s new poetry collection Light at the Seam, published by LSU Press during Lent, could not have arrived at a more propitious, or more precarious, time in our lives. Though we have just retraced, in faith, Christ’s journey to death and still behold in wonder His mysterious rebirth, we remain threatened by ruinous instruments of our own making; amid what we take for granted, air and water, birds and game, the earth that feeds us, we are too often oblivious to how the “[s]undial / casts its shadow on the hour” (“Sundial, West Virginia”). We have forgotten our charge to be caretakers of daylily and webworm, thistle and Queen Anne’s lace, snake and vole, “whole kingdoms of. . .whirring ethnographies of insects” (“The Assumption”).

Fundamentally a personal response to, even an indictment of, Appalachia’s coal industry and the destruction that continued mining wrecks upon the Appalachian landscape, a place “almost Heaven— / but decidedly not heaven” (“Limbo”), Light at the Seam is, ultimately, a gesture toward resilience, renewal, and hope.

The collection comprises four aptly named sections whose religious connotations are deliberate: The Assumption, The Windows of Heaven, Limbo, and Light at the Seam. These sections suggest not only only glorious beginnings and hard endings but also the in-between “imaginal phase” (“My Mother and Father”) of the likely or inevitable, be it disastrous runoff and floods, clouds of powdered coal that catch the air on fire (“Oracle”), slurries streaming toward once-pristine rivers in Kentucky, Tennessee, West Virginia, Pennsylvania, or the simple sign “No Trespassing / [that] impends / a large red / caution” (“Keyford”). Bathanti sources in these sections the workings of both the human and the Divine, drawing unmistakable contrasts: between the beauty on earth, where [f]ireflies torch the night” and “flowers shrive, and prick eternity” (“Blessed Thistle”), and the ugliness of mountain-top removal that renders a creek “sick // green-brown in slabs of sunlight— / dull as a gorged serpent” (“Postdiluvian: Mingo County, West Virginia”); between the holding of Creation as sacred, and therefore ever-lasting, and the ill-served-taking by humans by authority and assumption, “men [not] beholden / to words on a page” (“Sentences”) who exact what’s “beyond our ken” (“Boar”); between the clarity of witness and the dark acknowledgment of our “sin black as bituminous” (“Glad Creek Falls”); between loss and the possibility of regeneration. No matter the place named, whether Mingo County, West Virginia, or Dubois, Pennsylvania, how we “look upon the earth” (“Floyd County, Kentucky”), the poet indicates, is how we map our fate and our future. But, “make no mistake: // you are permitted entry through grace” (“Daylily”), the poet reminds us, adding, “Life is more than fable, // but never stops stunning earth” (“April Snow”).

Maureen E. Doallas, Joseph Bathanti’s ‘Light at the Seam’ (Review)

On the screen, the men abduct the women willingly into sailboats and helicopters and Yves St Laurent dresses. They emerge immaculate from baths scented like money and lavender. Honey in their voices, the way they hold their coffee til it goes cold. The neat fold of their sweaters in drawers. The author’s inheritance was a patch of weeds in a meadow surrounded by smokestacks and rusted out cars. The author’s inheritance was worry, that slipped into her bed each night like a cat beneath the covers.

Kristy Bowen, napowrimo #22

and do you find
you asked after
the first bottle
(hesitantly because
this reunion shared
only the fumes
of a maybe past)
that tears come
more readily
these days?
oh yes i agreed
barely a day
goes past without
you looked
into your glass
lachrymae rerum
you pronounced
man’s relentless
cruelty to man
as the default state
and far too long
of trudging that
same old road
more like riding
that same old train
i said
only this time
it’s terminus bound
with only the last
few stations to come
ah
our waterloo
you smiled
kings cross for me
i said
and we laughed
earlsfield
you declared
potters bar
i countered
vauxhall
you intoned
finsbury park
i whispered
and we laughed
to tears
as we used to laugh
back when the line
stretched far ahead
and impatience grew
as each platform
glided to a halt
and we yearned
for the turnstiles
and the streets beyond

Dick Jones, stations

I eat my toast and look at a news website.
It says twelve hundred homeless people died in Britain in 2021.
The reporter writes of the homeless problem.
The homeless are not the problem.
The system that makes them homeless is the problem.
The people who make the system are the problem.
I see somebody has decided April will be National Poetry Month.
I click on the link. National Poetry Month would not be possible
without the support of our sponsors.
It lists them.
On twitter two poets complain they are suffering from PPD,
which apparently stands for Post-Publication Depression.
On the TV news it’s time for sport.
I hear the phrase A rain-affected day in the cricket,
switch off.

Waiting.
It will take our new friends twelve or thirteen hours to reach the border.
Train stations are sometimes bombed.
I have their photographs, open the folder and look at them
smiling, not knowing.

Bob Mee, WAR POEMS

I’ve lived an interesting life and have often been asked if I was planning to write a memoir. The events that seem to be of interest to others are sometimes personal (getting kicked out of high school, having an illegal abortion, delivering my son in a hotel room in Kabul Afghanistan, losing my best friend to AIDS), sometimes political (protesting the American war in Vietnam, being tear gassed by police at Democratic National Convention in Chicago in 1968, running a feminist abortion clinic, being a member of ACT UP NY, co-founding a lesbian press). I always deflect the question. I’ve told the story of the birth of my son many times, but something always rang untrue in the telling. If you read memoir or listen to true stories as spoken on The Moth Radio Hour, there is always a central drama and some sort of resolution; it may be something learned or revealed; settled or accepted; reconciled or forgiven; avenged or rejected. The problem I faced was that I couldn’t name the central drama in my life’s story, so how could it possibly be reconciled? I write, but I’ve always hidden my sadness in poems, not in stories.

So, when it revealed itself, it was as if my entire life needed to be rewritten. The event that encumbered me, that I didn’t tell—or spoke of rarely—was losing custody of my son to his father when he was five. Facing that fact now, trying to undo the effects of the shame I have carried for decades, has made it possible for me to want to tell this story. A story with an omission in it is a story untold. And yet the omission itself, once revealed, is only a small part of the story.

Risa Denenberg, Coming Out of Hiding

It’s too late to become a philosopher. I don’t have the stamina now to do mountains of difficult reading. I’ll have to accept — as I never did, as a reader of literature — secondary sources and summaries, watered-down versions adapted to the meanest understandings. Well, bring it, then. I’m not reading the complete works of Kant and Heidegger at this time of my life. But I may need to know something, at least, about what they meant. I don’t aspire to be a figure of any sort, literary or philosophical — which is all to the good — but I still aspire to understand: I still aspire to live a life that might mean something. I still aspire to take a bit of the edge off my own suffering, and other people’s, in whatever way I can.

It’s not just reading, of course. It’s practicing. It’s meditation, contemplation, prayer, visualization. Mushrooms. Being a damned fool, or even a blessed one. And it’s writing poetry, and possibly even making art.

I don’t see what else I can do, honestly. It’s no just that there’s no other path forward. There’s also no path back. 

Dale Favier, No Path Back

If, as you wrote, to die is truly                         to become invisible,

then perhaps                     this isn’t possible. A dram of single malt,

the waves of which                               

have crashed. These poems, carved                  from bread and butter,

shorelines, secrets             , tundra                   : something brittle,
ancient                    , deeply human. Stone                

as old as wine.

rob mclennan, Requiem for Steven Heighton

The first thing I thought of when I saw that the Russians had attacked Lviv was Adam Zagajewski’s poem “To Go to Lvov.”  In fact, the only things I know about Lvov/ Lviv come from his poems, and from his prose  book Two Cities, about Lvov and Gliwice.  Zagajewski was just a few months old when his family was forced to leave Lvov, a beautiful old, cultured town, a World Historical Site, for Gliwice, an industrial German city traded to Poland at the end of World War II.  Zagajewski’s family kept the city they’d had to leave alive with stories, and the poet absorbed their vision:  “My grandfather, despite walking right next to me in Gliwice, was in Lvov. I walked the streets of Gliwice, he walked the streets of Lvov.”  This in turn made me think of poems where place looms large–real places like Wordsworth’s Tintern Abbey, Frank O’Hara’s New York City, Alice Oswald’s Dart, about the river.  But I also think of wholly imaginary places, like Xanadu in Coleridge’s “Kubla Khan,” or Dante’s vision of Hell in the Inferno, or the metaphorical ship in Adrienne Rich’s Diving into the Wreck. And then the places in between–actual places summoned up in memory, like Zagajewski’s Lvov.  The place could be as small as a room or a garden, as large as a city or mountain range or ocean–Frost’s “Once By the Pacific.”

Sharon Bryan, Poems of Place

a moose came out of the woods and
stepped on my heart, yes
a moose, horns like driftwood oaks
came out of the forest and
stepped on my heart
a moose or maybe an elk hard to tell
given my position and the fact that
the moon was radiant, glowing, but
behind clouds and I was lying down
curled in fetal position and
holding my head in my hands

Gary Barwin, a moose came out of the woods and stepped on my heart, yes

Robert Fillman: Thank you, Meghan, for taking a moment to chat with me about your ambitious debut collection, These Few Seeds, which I loved! The book covers a lot of ground—Brooklyn, London, Greece, California, New England, Texas—was your intention to evoke place (and a range of places) when you set out to write this collection? Or did you have some other governing principle in mind? 

Meghan Sterling: It is a whirlwind, isn’t it? A big part of my life has been traveling the world—it was actually in Peru that I decided to have my daughter. As my first collection, I wanted to give it the breadth of my life, all that came before that delivered me to my daughter, as it were, that made me the person who could be her mother, who could mother at all. Traveling also gives me a broader sense of grief about what we are losing to climate change. And she may not take after me, but if she does, I hope she can travel a world that still has sacred and pristine spaces.

Diane Lockward, Terrapin Books Interview Series: Robb Fillman Interviews Meghan Sterling

Two deer coming down out of the woods
each foot a needle sewing

footprints to the dew.
Two Roe adults the colour

of last year’s leaves,
picking through the headstones

gentle as mist

Wendy Pratt, Twelve

Unfortunately, the Monday after our celebratory Easter weekend, I was due for a long-postponed brain and spine scan. I always feel a little wonky after brain MRIs – sinus infection? magnetic allergies? – and so I was a little down and out this last week. I also found out some good news (no new brain or spine lesions) but also a little bad news – a thyroid node pressing on my jugular vein and carotid artery I need to have an ultrasound on, and terrible degenerative disc disease in the neck, which I guess is why my neck hurts all the time – as well as a pinched nerve. That’s how it always is, right? As we get older – a little good news – my MS hasn’t gotten any worse – with a little bad news – age related arthritis in the neck, something I need further testing on the thyroid (which, let’s face it, my thyroid has been wonky since I was a teen.) The funniest part of the test was the front desk person, as she was handing me my MRI on disc, said to me “Your hair is the same color as the cherry blossoms – you have to take a picture with them!” So I did.

Jeannine Hall Gailey, National Poetry Month, MRIs and Upcoming Birthdays and Publications, and Signs of Spring

I walked streets
past closed shops
stood on the beach

the wind raised waves of fine sand
until it combined with the rain
to send us all indoors again

the cracked pavement
a broken mirror
reflecting the street lights up to the stars

Paul Tobin, BETTER DAYS

I’ll write more about the retreat later. I am trying to get ahead with both grading and seminary work, since I do have an appointment with a hand surgeon on Thursday, and I don’t want to get too far behind. We are at the end of the semester for both my teaching and my seminary student work. When this semester started back in January, I worried about the new Omicron variant, and I worried that my job might keep me from being successful with my classes.  A broken wrist was not on my radar screen of things to worry about. I am aware that I often worry about possible negative developments only to be blindsided by something else. Breaking that habit of worrying about the future may take more years than I have left.

Again I realize I am very lucky. I am grateful for the voice recognition that I have with my version of Word, for example.  I am grateful to be able to be at this retreat, broken wrist and all.

Kristen Berkey-Abbott, Broken Wrist Woes and Gratitude

I was told little girls don’t howl like banshees. They don’t go around with messy hair and dirty ragamuffin faces. They say please and thank you. They keep their elbows off the table.

I heard for goodness’ sake, stop harping about not being hungry. There are plenty of children in the world who would be happy for what you’ve got. Don’t get smart with me, you know you can’t share your supper with them. You will clean your plate, missy, before going back outside. No need to panic because your friends are waiting. And no hiding food in your napkin. If you think that will work you’ve got another think coming. That’s quite enough backtalk from you.

Not till I’m grown do I learn:

Banshee comes from my Irish kin, meaning a female fairy or woman of the elves.

Ragamuffin comes from Ragamoffyn, the name of a demon in a 14th century poem.

To harp comes from harpies, winged half-human half-bird creatures in Greek mythology representing hungry wind spirits who steal food.

Happy comes from my Nordic kin, from heppinn (fortunate) and hap (luck).

Panic is related to sudden terror when woodland god Pan lets loose fierce cries, causing enemies to flee and saving his embattled friend.

I am glad to live for goodness’ sake. But hair messy, elbows on the table, I fly beyond what I used to call remembery, toward a world where another think is, indeed, coming.

Laura Grace Weldon, Backtalk

It was in the golden hills that I stopped holding your death in my arms. Your corpse, my soul. Where one stopped, the other began, fifteen years passed that way. In dreams you would come to me, miserable, suffering. And as you could not explain your life to me when you lived, you could not explain your death. Why you embraced it so. Was death the key to your cell? 

In the golden hills that I stopped holding your death in my arms. I walked along the Yuba River for miles. Purdon Crossing, Edwards Crossing, and I left the trail and went down to the water, and there I covered your death with rocks. I balanced one rock on top of another. And again. And again. And I climbed back up to the trail and left your death behind me. 

It was in the golden hills that I stopped holding your death in my arms. And that was years ago, over thirty years now since you swallowed the pills with vodka. Your corpse, my soul, for so long they have gone their own ways. You, in the light. Me, in the world. I’m just on the edge of getting old. And I like it, Cathy. I still like life. 

-for Cathy Kochanski, 1954-1983 

James Lee Jobe, the suicide of Cathy Kochanski

how it is to be
deep in league with the plants
incessant rain

Jim Young [no title]

I confess to the usual nerves about whether all this would line up right. I know the tone of book promotion is supposed to be all yay-yay-gratitude-everything’s-going-dreamily–a beautifully produced book is a really lucky thing. It’s also a really frigging hard thing: to plan, to write, to revise revise revise, to find a publisher and revise again. Then tossing the published book at the world so that it produces even a tiny guppy-size splash is hard. I find myself riding peaks and troughs. Just so it’s clear, I spend way more time fighting anxiety and inertia about this promo stuff than feeling triumphant.

This week I read the tarot cards on the future of the book and they told me, eh, false starts, disappointment, it won’t go as you hoped. I then did a consolation reading next about something lower stakes–how about my May trip to Budapest?–and they said wow, amazing, the world (literally The World) is at your feet! Um, thanks, cartomancy.

Lesley Wheeler, Poetry’s Possible Worlds for pre-order–so there, Three of Cups reversed!

Forget the vowels. Speak only
in consonants. Thick-soiled
like freshly plowed earth,
thick-soled & thick-souled.
Forgive me. I held a word
all morning like a limp-necked
bird in my hand. Would
that it drank. That it opened
its one lidless eye. That it sang.

Romana Iorga, NaPoWriMO Day 19, 2022

“Ambiguity is the world’s condition.…As a ‘picture of reality’ is it truer than any other.  Ambiguity is.”  So says Charles Simic.

In that spirit, I submit spring.  Yes, spring is a bouquet pulled and given from the dark dead closet of winter by a surprise lover — and yes, spring is a wide sky of clotted clouds and warty trees.  Yes, canopies of white cherry blossoms making the city street into a wedding lane, and yes, wondering if those branches that scratch the blue sky are dead or slow or what?  

Yes to bemuda shorts and flipflops, yes to down vests with down parkas.  Yes to breath-scented bacchanalia; yes to depletion and childhood colds that repeat every season.  

Yes to People of the Book celebrating religious holidays like overlapping dinner plates; yes to fractricidal wars.  Yes to moral imperatives that command and consume us; yes to the audaciousness of hope.  Yes to too much, yes to breath.  

Jill Pearlman, Ambiguity, Thy name is Spring

The ears, two snails stuck out of habit
on either side of the head. The nose,

windbreak in a field no longer at war with
itself. Declension of the chin that in the past

rested too long in the bowl offered by the hand.
Citadel of shoulders from which no doves

cry at twilight. The knobs on the back
which at night still flutter toward the idea

of wings.

Luisa A. Igloria, Dream of the Body as Strandbeest

The collection ends on a sequence, “Political Poem 2.0”. Part VI,

“I say poetry is
not escapism.

But I had not yet
understood how

to sit at a table and
drink a glass of water,

gratefully,
watching clouds pass.”

Poetry, regardless of the poet’s intent, is often read as autobiographical in a way that fiction isn’t. Whenever the lyrical “I” is used, some readers assume the poet is speaking which isn’t always the case. The opening two lines suggest poems are not read for the reader to escape their lives yet the remainder of the poem undermines this. The reader has not matured to understand how a simple pleasure: stopping for a drink of water and watching, being present in that moment and noticing only what is happening in that moment allows the speaker to temporary ‘escape’ other pressures and concerns. The next poem, VIII, observes a desert hawk,

“For you know
there is neither

beauty nor play
without sustenance,

and nothing, truly
nothing

without water.”

Water is life, both its source and the force that keeps life going.

Thoughout “and then the rain came”, water is literal, metaphorical and sustaining. A force that enables life, weather that revives the natural world and sustenance, not just physical but spiritual and mental. Edward Ragg has created a pamphlet of complementary lyrical and narrative poems linked thematically but experimental in approach, using language as a fluid probe.

Emma Lee, “and then the rain came” Edward Ragg (Cinnamon Press) – book review

I am playing the little game with the flowers.
This one droops to the left.
This one droops to the right.
Another has leaves like bowtie pasta.
Another has leaves like questioning arms.
I match this flower to its companion,
these leaves to their mates across the board.
As each match is made, both halves disappear:
Isn’t that the way of the world?
Eventually even the little filigreed borders are gone;
nothing is left but empty white boxes.
I press Play Again, spawn
another version of the board,
as if I’d never been there.

Jason Crane, POEM: Tiles

When I opened the carton stamped D R I V E on the side and held this carefully-made object in my hands, for the first time, I felt the impact of the oddity of the image, combined with the title, making a poem of the cover. I was holding a poem. Like a parent with several children, who loves each one differently, and who is not supposed to have a favorite (but does), I’m forced to admit that, when it comes to the cover, Drive is mine. And, here’s why. I’ve always wanted a book whose cover makes you to want to pick it up. With Drive I like the feel of the matte finish. The slightly smaller-than-standard width, made to complement the short lines in the poems––the whole glove-compartment-size of the book––makes sense. Katherine Bradford’s artwork invites the reader to reach for the book, to look, and look, again, to ask questions like: what does that airborne woman have to do with the word drive? […]

Among the notable covers of poetry books from last year is Diane Seuss’s, almost unbeautiful Frank: Sonnets. Here is a book whose shape and size fit the poems inside, the width expanded to accommodate the poet’s long lines, the cover is in evocative/provocative conversation with the poems, and the image, personal to the author, to the title, integral to how this happens, making it a perfect cover. I’ll stop there, as the discovery of how this happens is one of the many pleasures to experience in the reading of this book, and a lesson in how to judge (and appreciate) a book by its cover!

Cover Stories: Judging a Book by Its Cover – guest post by Elaine Sexton (Trish Hopkinson’s blog)

Sometimes I drag my husband to art-house-y films and when someone asks, “Was it good? Should I go see it?” I hesitate. Yes, definitely good. Also, scarred me for life.

That’s how I feel about this amazing, abrasive, challenging, brilliant book of poems by Diane Seuss. It is like nothing I’ve ever read. Your mileage may vary.

From the back cover: “Every poem in frank: sonnets is an example of the incomparable Seussian Sonnet, where elegy and narrative test the boundaries of the conventional form” (Terrance Hayes). “…an ambitious, searing, and capacious life story. The poems themselves use an ecstatic syntax to unite Seuss’s lyric leaps from one wretched sweetness to another….narratives of poverty, death, parenthood, addiction, AIDS, and the ‘dangerous business’ of literature are irreducible” (Traci Brimhall). In short, it was a little like reading a memoir—bizarre, fragmented, mesmerizing. When I first purchased this book and read a poem here and there, I was missing the point.

I’m trying to pluck out a few sentences to illustrate (but some of these untitled poems, always 14-lines but with unbridled-lengthened-lines, are all one sentence). Maybe this one about her son: “I’d authored him in my bones, he was my allegory, analogy, corollary, mirror, I forged / his suffering, his nail, his needle, his thrill” (p. 66). And, often, provocative statements that I don’t quite know what to do with: “All lives have their tropes over which we have minimal control” (p. 83); “I fell in love with death” (p. 80). Or in a poem beginning, “Thirty-nine years ago is nothing, nothing,” this ending:

I was nothing, I knew nothing then of nothing, its shacks shawled
with moss, its bitter curatives and ancient hags redressing my narratives. (p. 60)

Traci Brimhall sums it up brilliantly: “It’s a book to inhabit, to think alongside, to rage and laugh with, to behold the ways beauty is both a weapon and a relief.”

Bethany Reid, Diane Seuss: Frank

Ana Silvera is a fabulist – a teller of fables. I heard her first on Radio 3’s The Verb on 28 February 2020 and have been haunted ever since by her song Exile, with her own sruti-box (Indian harmonium) accompaniment. It starts one and a half minutes into the broadcast. Tree seeds carried in the mouth – what a strange and potent image. I carried her song in my mouth, and found myself writing new words to the tune. I sent the words to Brittle Star, a magazine that consistently published excellent poetry and prose until about 18 months ago. I was overjoyed to have my song accepted and published.

Ama Bolton, The Fabulist

Coming off
the mountain

I can say things
I cannot say,

the old monk says.
That’s why I go.

Tom Montag, THREE OLD MONK POEMS (182)

We went to the Peak District for half term, we had a lovely time in among the snow, the wind, the rain (as a Twilight Singers fan I’m now duty bound to link to Feathers, even if I am slightly misquoting the lyrics), but the weather sort of curtailed our outings. This did give me time to complete and submit my review of Stewart Carswell’s first collection, Earthworks, for London Grip. My thanks, as ever, to Michael for taking it and being so quick to publish it.

I really have to start saying no to reviews, but some how I still have 4 to do. I did start another while I was away. It’s only 350 words, and I got half way through and now I think I have to start again. Get on with it, Riches.!!

I woke up to some ace news yesterday, a mag that I have admired for a while have agreed to take one of my poems (pending acceptance of edit suggestions). I am working through their totally sensible suggestions at present, and hopefully it will all be good. I’ve gone from rarely getting editorial feedback to having a fair bit (albeit not massive) of late. I like it, I think. More news on this soon, I hope. No chickens are being counted in the making of this paragraph.

I also had the chance to catch up on some* reading while I was off. I say some, it was nowhere near enough. Every time I finish a magazine, a new one arrives, and that seems to take the place of reading the books that are piling up. It’s not exactly the end of the world though, is it?

Mat Riches, (Inspiring) Carpets

The Italian place I remember
had dark walls, and candles
in cut-glass red votive bowls.
I thought the owner was Polish.

He and my dad were buddies,
talked business, smoked cigars.
I wore black-patent Mary Janes,
drank Shirley Temples, feasted

on baskets of crusty bolillos:
French bread reimagined
into perfect torpedoes
by Mexican hands.

That’s where Dad taught me
how to relish soft-shell crab,
and the names of big wine bottles
like Jeroboam and Methuselah.

All I knew about Methuselah
was that he lived a long time,
maybe forever. I thought
Dad would too.

Rachel Barenblat, Fine Dining

To be clear: Like any love–perhaps, especially, a late-in-life one–it’s not all rainbows and confetti. Every person who’s lived a good chunk of time carries baggage, and unpacking mine has meant coming to new terms with aging and mortality and the passing of time and dreams.

In the past two months, I’ve become grounded in the reality that my body has changed and is changing. That I am going to get old and die. For real. Not in some abstract, “some day” sort of way, but in a concrete, wow-I-can’t-do-things-I-could-do-just-a-few-years-ago sort of way. In my head, I’ve still been mostly the same physical being I was in my mid-30s or so. Sure, I’d gained a few pounds, but I could still do all the same things, right? Ummm, not exactly. Now, in both my head and body, I know I’m not the same physical being I thought I was. (If you want to know how old your body really is, take up a sport you haven’t played since you were a tween. You’ll know, too.)

I know this might sound kind of grim–and I’ve had my moments of feeling fairly terrible about it all–but it’s really not. It’s becoming the foundation for a kind of gratitude I’ve never felt before. Yes, I’m going to die, but I’m not dead yet. A thing I thought was lost to me has come back. (What else might this be true for?) My body has deteriorated, but not so much that I can’t embrace this opportunity. The ladies I skate with tell me I’ve come back just in time; I’m still young enough to regain many of the skills I once had, but if I’d waited even a few more years that might not be the case. For the first time since–well, since about the time I quit skating, really–I’m feeling more gratitude than resentment toward my body.

Rita Ott Ramstad, Becoming a unicorn

Listen to the whirl of guitar & drum riding
on the breeze with whiffs of
The Big River & roast beef po boys
Listen to the rustle & crunch of
people clapping, feet dancing
in a crush of bodies & fun
Watch nimble fingers plucking strings
of steel, hair flying like freedom on fire
Watch an elderly gentleman, dapper
in dark suit & bowler hat, mesmerized
by musicians’ whirl & pop, a whisp
from his cigarette jigging overhead.

Charlotte Hamrick, NaPoWriMo 2022 day 24

The Path to Kindness is another anthology by James Crews, who also put together How to Love the World which I referenced in this post on reading poetry and on always carrying something beautiful in your mind. There’s a line from Danusha Laméris in the intro where she says, “kindness is not sugar, but salt. A dash of it gives the whole dish flavour.” Kindness is connection, and connection is something I think most of us are craving right now. It’s a good book to have on your shelf. I sort of forget who I used to be two years ago, someone who I would have described as a kind person. And this book helps me remember that. It’s also helpful to remember that kindness isn’t sweet or saccharine. It’s salty. […]

The last book in my stack is by Teju Cole: Golden Apple of the Sun. I really admire his book Blind Spot, which I’ve written about before. His latest has been well-reviewed in various places including: in Musée magazine, and Art Agenda. (Worth clicking through to see the photographs). You know I’m always up to read a book about still lifes and this is a good one. The photographs are that lovely balance between studied and unstudied. They feel natural even if they had been quite arranged. There’s just some good breathing in the photographs. A kind of very deliberate calm which is reassuring. They remind me a bit of some photos you see in recent cookbooks, but also not quite, because they’re not trying to sell you on anything other than the shapes and forms, on the experience of enlivening dailiness. If I were to use the word poetic to describe them, it would be the poetry of Derek Walcott, maybe. Precise, in control, but not without humour, not without flourish.

Shawna Lemay, Sustain the Gaze

What if everything we tell ourselves about why we feel a particular emotion at any given moment is nothing more than another story we’ve learned to compose as a way to soothe ourselves? To control one another and keep the world predictable?

Kids wake up happy without questioning their sanity or looking for the reason for it. I know there are some adults who do this, too. I have heard people talk about them and rationalize it by describing these adults as “simple-minded”. Or “special”. Unexplained cheerfulness is definitely anti-social behavior. It makes us giggle nervously. I’m not sure if it is a named archetype, but it should be. (Note to self to look it up when the headache subsides).

What if all art is just an act of unlearning? Resisting. And that our ideas of what poetry is can get in the way of that? What if art should start where we are familiar and then chisel at it until it leaves us speechless. What if instead of giving us more stories related to our own stories, it tears down every story?

What if it is the “made thing” that shows us the artifice in all made things? Even our own stories?

Ren Powell, The Artifice in Made Things & the Pleasure in Dis-Order

I know a woman that can turn a bullet into a church bell.

I know a child that can transform ill will into cotton candy bombs.

I know a man that swears it’s quarter till heaven and half past hell whenever he checks his watch.

I know enough to know I’m not even close to knowing everything.

But I do know that when I refer to my fret hand, I mean the one that plays guitar

instead of the one that worries over the weight of the world.

Rich Ferguson, Fret Hand

Now I rise like a heron in the midnight pond.
My spine is infinite, my bones divine.
Upon re-entry, I find my flesh
intact. It is worshipful, this vessel. Its
storm of neurons, its earthen feet, the prayer of my hips, my
heart’s cauldron. My ribs engorged with grief. My belly a safe house.

I shocked the clocks into obedience. In time, I will rise and
rise again,
come to rest in this spawning ground.

Kristen McHenry, Poem of the Month: The Odyssey