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.
A lot of poets are writing a poem a day this month, and bloggers seem split between those willing to share their rough drafts and those who prefer to post already published pieces instead. I’ve shared snippets of both sorts of poems below, and I defy anyone to identify without clicking through which are which. (Please note that if I’ve shared a quote from a poem that you plan to later take down so that you can submit it somewhere, shoot me an email or message me on Twitter so I can erase the evidence here!) Also in the mix: musings on language and poetry, surviving the AWP, and working in collage and other media and genres. And I love Amy Miller’s Poetry Month project of writing about a favorite poem every day, in posts that are the perfect bloggish blend of the personal and the analytical.
I took this week off from work and have spent most of it writing poems, writing poetry reviews, setting up a new website for publishing poetry chapbook reviews, submitting poems, writing poems. Sort of a trial run for retirement. I can’t wait to have more time to write, more control over my schedule, more reading, writing, reviewing poetry.
For the something-ith year (10th I think) I am writing a poem-a-day for April. After a couple of poems, I realized that I am writing a sonnet cycle. I am excited about this! Risa Denenberg, Sunday Morning Muse is Poetry Month with a Vegan Twist
I will blame the blueness in the sky
the berries fallen and crushed under feet, seeds carried away by wind
the plain breasted bird on a dying tree.Uma Gowrishanker, where poems hide
Sun soaks through everything, stitches specialness into the ordinary
Not named for the coarse open fabric of flags,Anne Higgins, In the hand of the bander
but named after sifting seeds,
after blue dye from hairy blooms of the legume family
in India, Indigo Buntings flash,
hue of the portion of the visible spectrum from blue to violet
evoked in the human observer
by radiant energy,
by iridescence in flight.
Isn’t it funny how the words super and superb are so close to each other orthographically, and close in meaning, and yet one is considered plebian while the other is a lofty, almost snobbish choice?
Super: 1) of a high grade or quality; 2) very large or powerful.
Superb: 1) marked to the highest degree by grandeur, excellence, brilliance or competence.
It’s almost as if back in 1802, someone who couldn’t handle consonant clusters downgraded superb to super, stripping away the ‘grandeur, excellence’ etc. Sarah J. Sloat, I open my mouth and there it is
A poetPF Anderson, On Making Beautiful Monsters
might vajazzle a cloaca with ommatidia
just because they like the sparkle and bounce of the words, but
trust me, you do not want to see those words put together.
Pray they don’t add a sprinkling of blastomeres for some cleavage,
or knit neuroglia over biofilm for a net
to scrunch into a purple nictitating membrane. What
it comes down to is no one quite wants a poet’s body.
Poets don’t assume a thing is just a thing—they look beyond the obvious truths for the truths that require more digging. And that comes to the second thing Keita said that I wrote down in my notebook: “the impulse to research changes everything.” I underlined that three times, because that is such a powerful truth about poetry, writing poetry, and the urge to create. Creating isn’t so much about making something new as it is finding new ways to experience the old (or the things that already exist). [M. Nzadi] Keita went on to talk about the world as multiple words, and the need to acknowledge and sort through the many layers of it. This, she said, is a de-centering experience, and poets thrive on that de-centering.Grant Clauser, Not Taking for Granted: Notes on Why Poetry
Read “Collective Nouns for Humans in the Wild” in the online journal Jellyfish Review here.Amy Miller, 30 Great Poems for April, Day 4: “Collective Nouns for Humans in the Wild” by Kathy Fish
This hybrid poem/prose piece by Kathy Fish, published in the online journal Jellyfish Review just after the mass shooting at the Route 21 Harvest music festival in Las Vegas, went viral in October 2017. When I read it at the time, it gave me shivers. The poem stuck with me, particularly those last few hair-raising lines.
But by the time I came back to this poem a few months ago, in my mind it had grown; I remembered it as being a long, list-y poem. So I was surprised to read it again and find that it’s actually very short, concise, even lean—and I think that’s one of its great strengths, the fact that it can start out so larky, sweet, offhand, and then so quickly take that dark turn at the end. Its whiplash is swift and sure. I also love the fact that it’s not exactly a poem, though many regard it as one; it’s a great example of the flexibility of hybrid forms. This is one of those poems that make me think anything is possible with words.
When you have a rabbi for a daughter Rachel Barenblat, Texts from the hearse
sometimes you get texts from the hearse.
You must have known what I was doing:
reminding myself that I still had a mother,
bracing against — well, now: not being able
to reach you to talk about purses or friends
as the cemetery’s energy slowly drained.
The walls are thin, transparent.Romana Iorga, Falling Asleep with Carpenter Bees
Angels stand at right angles.
I close my eyes to see the bees
breaking and entering. Honeycomb
dipped in sorrow. Eyeballs
rolling like grapes on my palm.
I see a handful of pennies fallen
through the grate. Shallow sludge,
the refuse of a city feigning sleep.
The bottomland rose up behind you,Charlotte Hamrick, Stones & Moss
a hard, broken ripening.
You sewed yourself by thirds out of your softness,
holding all of you out of the sun
to feel yourself settle in.
You ran into the bottomland’s cloudy eye.
The woman holds inside herselfAnn E. Michael, Patience
for nine months the evolving child
and every moment is one of multiplying,
expending energy during the wait
which may result in either life
or death. Even the Zen place of repose
requires breath: action, inhalation,
oxygenation, illumination. Notice:
this morning, the plum trees blossomed.
It rained at Spring Equinox, andJames Lee Jobe, ‘It rained at Spring Equinox, and’
A beautiful quiet filled the house
In the dark just before sunrise;
There was only the sound of the rain
And my wife yelling for more
Strange to navigate the busy waters of the Cork International Poetry Festival, and then the very next week–from a distance, via social media–watch writers navigate the even busier waters of the AWP Conference in Portland, Oregon. I managed to photograph every reader I saw in the Cork Arts Theater, except for closing night when my phone died. (Note that this happened mid-email. So I spent an agonizing twenty minutes wondering if I was standing up Kim Addonizio. Luckily, she got the message and made her way to Cask to meet up for dinner.) The downside of the phone dying is that I can’t show you Kim’s awesome shoes, or the sweet interplay between Billy Collins and Leanne O’Sullivan, a rising star of Irish poetry who had received the Farmgate Café National Poetry Award earlier in the week. The upside is that I was able to relax and fully inhabit those moments. Sandra Beasley, Teaching (& Festival-ing!) in Cork
The next morning I woke up brighter and more alert and ready to take on my Friday, which included the first event: a book signing for PR for Poets at the Two Sylvias Booth, where I got to visit with my beautiful editors, Kelli Russell Agodon and Annette Spaulding-Convy – really well attended, thanks to everyone who came by and bought books! It was a wonderful opportunity to chat – albeit briefly – with some people I have been friends with online for literally over a decade! I could hardly breathe because I was hugging so many people. Really, I love doing readings and panels, but hugging your friends is the best part of AWP, or telling someone how much their book meant, or thanking editors/publishers. It’s the people that make the event what it is. Swag is terrific, but human interaction between writers is even better. Jeannine Hall Gailey, Happy Poetry Month! And AWP Report, Part I: Welcome to Portland! Disability Readings, Disability Issues, and Seeing Writers in Real Life
One of my favorite poetry publishers, in fact, they’re my dream publisher, is Write Bloody. They publish amazing poets and poetry that constantly inspires and awes me. And so of course I stopped by their table at the book fair. As I flipped through books I chatted with the woman standing beside me. It wasn’t till she walked to the other side of the table that I realized I’d been talking to the author of the book I held in my hands. So of course I bought the book and snapped a picture with Seema Reza. And, as it turns out, she’s a local DC poet and she’ll be at an upcoming Readings on the Pike so I’ll get to see her again soon!
I went to a panel titled, How We Need Another Soul to Cling To: Writing Love Poems in Difficult Times. During that panel I heard, for the first time, Meg Day, read their poems. Let me just say, the poems Meg read completely wowed me. After the reading I fangirled over Meg and they were kind enough to take a picture with me. *swoon* Seriously, I may have fallen in love a little bit, they are that amazing.
And absolutely worth mentioning – the time I spent with my friends, connecting with fellow writers, sharing meals and glasses of wine, attending readings together. The camaraderie rejuvenated me and my heart was filled. Courtney LeBlanc, I Survived AWP
I know some people go to AWP to network, to roam the Book Fair, to attend off-sites and book-signings, and to hear the keynote speakers. These are important reasons, and I’ve done my share. However, my main reason for spending the time and money that AWP requires is to get ideas for writing and/or teaching. To that end, I have a process I’ll share with you.
As soon as I get home, I get out my notebook and the conference program. For each panel I attended, I locate the panel description in the program, and then I write down the title, the date, and the names of the people who gave the panel. Then I write. After I fill up a page or two, I highlight anything that stands out. Then I look for connections, circling that which seems related.
For example, I attended a panel titled “Mind-Meld: Re-imagining Creative Writing and Science.” As I wrote, I remembered that panelist Adam Dickinson stated that he’d used himself as a science experiment. He talked about the psychological stress of testing himself daily to see what chemicals and bacteria lurked within his body. He also mentioned that serotonin, the neurotransmitter responsible for well-being, is made in the gut. As you can see from the page in my notebook, I connected this idea to others I’d remembered from the panel: [Click through to view the photo.]Erica Goss, Getting the Most Out of AWP
A week ago, I’d be waking up in Portland, eating a hearty breakfast, getting ready to figure out the mass transit system to make my way to the Convention Center. As I think back over all the AWP sessions I attended, the one that made me want to ditch the rest of the conference to approach my writing in a new way was the one on Intersections of Poetry and Visual Art at 10:30 on Thursday.
My brain had already been thinking about this possibility (see this blog post from December, for example). […]
It made me want to return to some poems and see if parts of them might make good sketching prompts. I was interested in the process of the poets at the AWP session. As you might expect, they approached the intersection of visual art and poetry from a variety of angles: some of the poets and artists worked in true collaboration, in some the words came first and then images, and then one woman worked more as a collage artist. Kristin Berkey-Abbott, Intersections of Poetry and Visual Art
Influenced by a Winston Plowes poetry workshop a couple of weeks ago (see previous post ‘Butterflies of the Night‘), the work of poet and artist Helen Ivory, and the boxes of Joseph Cornell, here’s my latest composite fiction. [Click through for the photo.]
I’ve used the found text I am devoted to nobody but myself as a starting point, then created a series of paper butterflies using copies of a photograph of myself taken when I was 19. Although I’ve worked with a single photograph, each butterfly is unique. The whole thing has been incredibly time-consuming but utterly absorbing. Partly, it’s been a problem-solving exercise, and that’s good because it’s made me think in a different way. It’s been a case of literally thinking outside the box! Julie Mellor, I am devoted to nobody but myself
By summer 2004, I was going all in on visual exploits, and it coincided with the very beginnings of the press, so I was designing the first few covers as well. I took a summer collage workshop at the Center for Book & Paper (it kills me this no longer exists, I was considering another ill-advised masters degree if they still offered it to bone up on my bookmaking skills.) By 2008 or so, I’d also made quite a bit of money selling originals, prints, and paper goods online–far more than I will probably ever make as a writer. I had finally found the medium that did not depend on me having to render anything perfectly at all. In having to struggle with how I expected something to look vs. how it ended up looking. With collage, so much is happenstance, depending on what bits and pieces you have available.Kristy Bowen, wild territory | adventures in collage
I’ve mentioned before, how the form actually also changed me as a writer, in my approach to composition. The poems I wrote in late 2004 and early 2005 were written very different from the poems I was writing before and were far better for it. Writing, which I’d always approached as a very serious endeavor with an intended aim in mind, a point of success or failure, became much more..well..FUN. Collages (and by proxy poems) are more this wild territory where anything can happen, I don’t really know what I will get, and therefore, am always usually pretty happy with the results. Even my adventures in other mediums, the ones I most enjoy, have a certain experimental approach–abstract watercolors, nature prints, ink painting. What happens tends to happen and it’s the discovery that is always the best part. (I could easily say this about most of my writing these days as well.) Sometimes the mistakes and trip-ups are the most interesting elements. Sometimes, they lead to other possibilities or change the course of the river.
Sometimes, I truly have no idea where I am going or what will come of it. It’s actually kind of awesome…
I was just putting together some notes for a poetry workshop I’m giving to the general public in April, which is, of course “poetry month.” I would not usually offer a “poetry” workshop. Rather the workshops I have offered ask people to just think creatively and imaginatively and not worry about what genre comes out.
In my intro notes to this workshop (the host organization said I could “do anything I wanted but it had to be focused on poetry”) I want to say something like what this article said, the idea of letting the work figure out its own form. This is part of the mysterious process of making. Marilyn McCabe, Make Me an Angel; or, On Not Committing to a Genre