Poetry Blog Digest 2020, 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.

This week brought the equinox, and with it, undeniable autumn to the northern hemisphere. We saw the death of a liberal lion on the US Supreme Court, and a spoken-word poet named Brandon Leake won Season 15 of America’s Got Talent. (I learned this latter fact from James Lee Jobe’s blog.) It’s a strange and perilous time, but it’s also autumn, and therefore still full of tantalizing possibilities. One’s nostrils may prickle. Things are in a literal as well as figurative ferment.


You look outside. From across the city a train makes its train noise, simultaneously sounding alluring and distant. I wonder how many people are on it. I look outside. It is Autumn. The dog is happy, madly chasing around the garden after an apple leaf. She is only a puppy, at the start of everything. A car slides by the house on the wet road. The dog yaps after it, chases another leaf, then growls for no reason under her breath at something only she can see in the gathering gloom. I go outside to find her. Already it is autumn, just past five o’clock. Time to feed her, I think. I pick her up, cuddle her close in the stiffening breeze. Let’s do this together, I say, to myself or her, I am not sure. Let’s go into this together, this grief, this house, this beautiful space, where the lights are on, where it is warm, where we are safe in the black panes, our lives reflected back to us.

Anthony Wilson, Autumn

I have been trying, not entirely successfully, to wrap my head around all that’s swirling around us in 2020. There’s the pandemic, of course, and there’s the resurgence of Black Lives Matter–both, to my mind, more than worthy of our attention. Then wildfires, extreme weather, climate change hit the news headlines, and the furor over the coming election becomes even more heated.

With Justice Ruth Bader Ginsberg’s death, the political turmoil that our country is going through seems even more exaggerated, and more divided. Because many people in my family of origin are on the opposite side of this divide from me, all of it is a source of deep, personal anguish.

I try to read widely and deeply, to think my own thoughts and be clear about what I believe. But, under these circumstances, it gets murky and I am as apt as anyone to lose my way.

“Why be a poet now?” I asked a friend. “What’s the point?” She said, “If RBG were a poet, she’d be the best damn poet. That’s what you should do.”

This morning I read this tribute in The Seattle Times, “Clerking for Justice Ginsberg We Learned about Law–and Love,” by Miriam Seifter and Robert Yablon. It says it all:

“The justice kept up her relentless pace because she believed in her work and in doing the job right.”

Bethany Reid, #notoriousrbg

word sews my eyes shut
swollen, water cannot escape
fast enough it backs up in flood
an ice-dam broken in fire & light
sears, migraine blowing apart
the seams of sleep & day the body
entirely unclear how to traverse
such chasms & the crazy & the true

JJS, (the until now avoided)

should i delight in the occasion or search for another chaos

should i feed the mist

should i flood

Grant Hackett [no title]

The first leaves are beginning to turn here in Montreal, though it will be another month before they’ve fallen. The air and especially the nights are chilly, but the sun is bright and warm. Spending some time with these nasturtiums cheered me up. I look at my cat and realize she is just living in each moment; the nasturtiums, like the lilies of the field, “neither toil nor spin”, and they certainly have way less awareness than the cat, but are simply beautiful for their brief lives. The other day, during a visit to a national park near the city, we had an encounter with a doe grazing in the forest: she reminded me of the deer on this little Greek pot.

Obviously we must try to protect the life on our planet, and each other, and work toward governmental responsibility and change, but we also need to take care of ourselves and find ways to take breaks from the spinning, obsessive anxiety that is so pervasive right now. No one can live, and certainly not contribute to solutions, within a constant barrage of negativity and anxiety. So I need these moments, which remind me how much of life is still beautiful, graceful, and quiet.

Beth Adams, Hermit Diary 39. Deer and Nasturtiums

Fall again, and even in this strange year, I am still  delighting in the work that I am just now digging into from this year’s submissions pool. Since I haven’t been able to read much at all with pandemic brain, I am moving slowly, but still moving nonetheless. Sometimes I feel capable and productive.  Sometimes I feel like I am drowning.  That it is all too much.  Not the work or the press, but more the mental real estate I feel is crushing me sometimes. How can I think about this and this when there is that, and oh god, now THAT?  But from everyone I talk to, it’s a common feeling, so I sit tight and wait until it passes.  And it usually does. 

I’ve spent a considerable part of this summer holding off new releases in order to wrangle the orders from the earlier part of the year into something manageable. Since I can’t keep much inventory in the small space I now work in since leaving the studio, most books, except very new ones are print-on-demand, so the lags were getting to be a bit unruly, especially for older material. Thankfully, a slightly lighter schedule this year has been a godsend during the pandemic, since I’m not sure I’d be able to function to keep things going at their usual pace, which was always hectic, even when my mind was better capable of dealing with it. 

But then again, I remind myself the import of the work in this world.  Especially now, when it seems least important while everything is chaos and sadness. It is just poetry and poetry is a very little fish in a sea.  But when you are in the fish, it feels gigantic.  Or something like that. This was not the year I planned so hopefully in my little planner so smugly organized  in January, but it is the year we got nevertheless. I am still going to try to salvage or savor as much of it as I can. 

Kristy Bowen, dancing girl press notes | september 2020

During lockdown, I started a new Instagram account called andothermakings where I’ve posted some of my visual poems, experiments with collage and assemblage, and various dabblings with word and image.

Last week, I was provoked to add new pieces to the account, mainly because I didn’t know how else to express my exasperation with the incompetence, duplicity and shamelessness of the current UK government […]

I’m still developing and experimenting with my collage work. I use natural materials when possible as a means of connection with the natural world and as a memo to myself about its vulnerability. Everything is connected.

Josephine Corcoran, Collages of Exasperation

Sometimes I have to search
out life amongst the loss:
the shattered trunk slowly
returning to its source; the scent
of moss; what persists
in these fallen branches.
Because what is hollow
can always be filled.
Today that will be enough.

Lynne Rees, Poem: Enough

You couldn’t ask for a more socially distanced, more star-studded venue in which to view art than Storm King, the famous sculpture park in New York’s Hudson Valley. You can wander the 500 acres – 500! – of this pastoral estate, see milkweed pods caught in sharp points of grass, grand allées of arbres, watch circling hawks – and boom, before you is a grand Calder, posing all kinds of questions, in its kinetic poise, about human possibility. I always feel the big heart of a circus performer in Calder’s sculpture, which is one reason why I love him.

Storm King puts a lot on the platter: in its early incarnation, the question might have been how do industrial “waste” and manly engineering coexist in the natural environment. Now, in the Anthropocene, we might ask if a “natural” environment even exists without its man-made face.

Such is sculpture that exists in space, in time. Are heroics poignantly passé? Is the immense piece of Alexander Liberman called “Adonai,” made of on- and off-again balanced gas cannisters, arrogant, the title a touch dismissive, though he insists it was random? After all, this is an era where an invisible virus has changed our entire landscape. Is a Lichtenstein mermaid against a blue-draped mountainscape worth seeing? Absolutely.

Jill Pearlman, Storm King (Art in the Time of Covid)

I was out walking the dog this evening, clear blue skies, still warm enough to be wearing a t-shirt, when I came across this cobweb, tatted with thistle and rosebay willow herb seeds. It felt like I’d stumbled on a miniature piece by Andy Goldsworthy. Early this morning there was so much mist across the fields I would hardly have seen it. Of course, tomorrow is the Autumn Equinox, and the weather is set to turn colder by the middle of the week. This was part of the reason I took my camera with me today. I wanted to capture a few images before the weather changes. Hopefully they give a sense of the summer’s end.

crossing the brook
lark song seeding
the fallow field

Julie Mellor, Equinox

Online at YourDictionary.com, I found the most concise definition of crickets:

(US slang, humorous or derisive) Absolute silence; no communication. Derived from the cinematic metaphor of chirping crickets at night, signaling (otherwise) complete quiet. May be used alone or in metaphorically descriptive phrases.

I love that this definition suggests the term derives from movies! I love that it’s a metaphor! And, of course, I love that crickets make sounds–so in actuality the analogy stems not from absolute silence but from the absence of, I suppose, a human-language response.

This time of year at my meadow, the crickets still thrive and make noise even as the cooler nights begin to slow their calls. I hear the order Oecanthinae (tree crickets) from on high in the tree canopy and the order Gryllus (field crickets)–slightly lower in pitch–creak-cricking amid the goldenrod and sedge.

Then I stop and consider all the thrumming, crashing, screaming, irritating, beeping, blasting, babbling noise humans make in the world. Even when we feel joyful, words and enough noise to make the head spin. A great din?

I think I choose crickets, for now.

Ann E. Michael, Crickets

An even tighter variation on the sonnet exists. Seymour Mayne calls it the “word sonnet”, but while I think they’re lovely, his work just isn’t in conversation with the sonnet form the way [Adrienne] Su and [Elizabeth] Bishop are (Mayne’s word sonnets feel much more like haiku). I wrote my own sonnet with one-word lines, after many tries, but keeping the rhyme scheme; it’s in The State She’s In and also included below. I ended up calling the form “occluded” because I wanted to draw attention to what was missing. Being so looked at as a young woman made me intensely uncomfortable, but the way middle age brings invisibility wasn’t entirely welcome either. Maybe that’s a turn behind rather than within the poem.

I write sonnets so often that I joke about having a sonnet problem; my words will suddenly start slant-rhyming on me then I’m riding the volta and grabbing at closure perhaps sooner than is always good for the work. But it’s fun to experiment with a form that so many people recognize because of all the conversations it raises, AND the rebellions it makes possible (and visible). It’s also fun to turn my mind to a small critical problem like this one after swimming in a novel draft all summer. Smallness can be a respite, a way of organizing attention that otherwise keeps wandering toward the political horrorshow.

I voted early at the local registrar’s office the other day, another small good thing. Writing prompt: vote (if you’re in the U.S.), then compose a fourteen-line poem about voting. It doesn’t have to use meter or rhyme, but make sure it contains a volta around line nine, a turn toward something better.

Occulted Sonnet

You
look,
crook
head
awry
to
elude
my

gaze.
Nobody
sees
me,
these
days.

Lesley Wheeler, Short-lined sonnets

~ after Lesley Wheeler

Is
it
one
syllable
or
two?
When
did

I (you)
last
really
speak
to
you (me)?

Luisa A. Igloria, Distilled Sonnet: Longing

I’m still trying to piece it together: to get it down in diagrammed sentences.
“I’ve always loved diagramming sentences.”
Dissecting thoughts.
Making them real.

It makes them comprehensible for a tender bit of heart
muscle that already accepts that everything falls
to pieces, then gathers like so many fishbones
and flows to the sea.

Ren Powell, An Anatomy of Grief

My garden is a gold splash of autumn, my favourite season. Apples thudding onto the unmowed grass, the buttery sun catching the red leaves of the maples. I have an urge to tidy and gather in supplies, inside and out, to finish harvesting my allotment and ready it for winter, to clear the flower beds of debris, to pack away tools for my winter hibernation. 

With words, I’ve been kicking through my poems like fallen leaves, noticing a gem here, a spoiled windfall there. I edit a line, I submit a few poems, slowly. There is no urgency with my work, though I know time is running short there as well. My course starts up again tomorrow, I have a book review due in a few days, but I layer words a few at a time, waiting for them to build up into some rich mélange. 

Gerry Stewart, Seasonal Changes

The autumn equinox came and went in a deluge of rain, bringing with it the anxiety of a fall with an important and scary election, doomscrolling, the increasing cold and dark, and for me, a bunch of rejections (because why not?)

Now I have decided to embrace fall, with its waning daylight, and increased need for sleep or hot chocolate and cider. I have embraced doing the things I can to decrease dread and panic. (Donations to political causes? Yes! Phone calls to friends who live across country? Yes! Reading books to increase empathy and resilience? Absolutely!) […]

Speaking of things that keep you sane…I saw a brand new bird here – a pair of scrub jays! They usually are up in mountains or farther away to the north, so I felt very lucky. I think the pair was a mother and juvenile because one kept begging to be fed! I also have some pictures of hummingbirds in the rain. We’ve had a lot of rainy days since the smoke, but we’re supposed to get some pleasant fall weather coming up this week. I think weather does affect my mood more than I like to think, though I’m hardly what you’d call the “outdoorsy” type. I’ve noticed my garden starting to wane, only dahlias and sunflowers and a few late roses left.

Last night our Ring camera captured a pair of black-tailed coyotes in the back yard. It’s not quite a bobcat, but a reminder that we live in a semi-wild place here. I’m going to make an effort this year to stay connected to nature even when the temptation is to stay inside.

Jeannine Hall Gailey, Stepping into Fall (with Anxiety,) What Are You Reading, and New Bird Sightings

Yesterday, as I looked at a display of pumpkins in a supermarket endcap that had once held watermelons, I thought about the passage of seasons.  I thought about my response to fall, my yearning for an autumn that soon may only exist in old pictures:  hay rides, bonfires, cinnamon donuts, apple orchards, changing leaf colors.  

The King Tides are just as seasonal a marker, but it’s hard to imagine people feeling nostalgia for them when they leave or yearning for their return.  They seem much more menacing, as water swirls up from storm drains to flood the streets, a potent reminder of the planetary changes that we can often forget.

I say it’s tough to imagine nostalgia, but a child growing up who had a parent pull a kayak full of children through flooded streets, that child will certainly have a different set of memories.  I’m nostalgic for hay rides I rarely had–that child when grown may remember the King Tides fondly, the way that I have fondness for snow days.

Many of the children being born right now will have no first hand experience with snow.  That’s sobering to me, but only because I have a certain bias.    I view rising sea levels and raging wildfires as a symptom of planetary brokenness, but generations after me may not. I see apocalypse, but we’ll adapt, and future generations will have a different set of apocalyptic markers.

Kristin Berkey-Abbott, Seasonal Markers, Planetary Brokenness

All these parts of me: maybe when they yearn to be inside out, it’s more like they want you to be closer to me.

Oh, the many untraveled boulevards of us across which we seek safe passage.

Even if home is where you fake it until you make it your own,

I’ll always leave a welcome mat for you at the door of my breath.

Rich Ferguson, Does the Home Away From Home Know Its Way Home?

Where would we be without libraries? I know that just the very idea of the library being there, being open again, being active, gives people hope and comfort. So it is a big deal that amid everything the main library in my hometown opened their reimagined, revitalized, and stunningly beautiful downtown building. […]

Maybe I love these books because they remind me of the work of photographer Mickey Smith, and I own one of her small prints that I bought a thousand years ago titled “More Books.”

One thing I know is that I want to go back and sit with these books, the hum of them, the breathing of them. I want to try again to take their likeness, their ordinary bookish beauty. A portrait of a row of books can say so much about us all.

Shawna Lemay, Drifting Toward the Details

I’m a gobbler. I vacuum my meals, I gobble the pavement under my quick step, I whip-read such that I’m always having to reread because I went too fast to remember what I read. But I’ve had this book of poems now for several months and I love it so much I can only bear to read a few poems at a time. This rarely happens to me, and I’m so thrilled to have the experience, especially during the pandemic, when everything seems to have slowed down around me, and my brain too, stumbling and bleary.

The poems are imaginative, beautiful in all the ways of beauty, sometimes funny, always poignant, almost unbearably so — but in a very good way. Indeed Phil was filled with some holy spirit with these poems, so full are they of wild winds and homely wonder.

Every poem is entitled by the name of the god who is speaking: The God of Wisdom, The God of Snow, The God of Driving Alone in the Middle of the Night. And each god reveals itself in tercets of its thoughts in the form of epistles to a “you” who is we, we who are staggering in the created world.

Marilyn McCabe, There’s always something happening there; or, On Reading Phil Memmer’s Pantheon

I was stunned this week to find Hotel Almighty on The New York Times’ list of ‘New and Noteworthy’ poetry releases. I thought I was looking at a fake page. But there it was between Marge Piercy and Billy Collins. It’s particularly astounding considering the doomsday articles I have been reading about the overwhelming raft of books being published this month, which is dismaying for anyone with a new book. I was happy to have any attention at all.

Mostly I’ve been happy for the support of other poets buying and reading and posting about my book. That makes me glad. Much of the book’s appeal is that it’s different. And colorful.

Sarah J Sloat, New & Noteworthy

There’s nothing to say this week. I’ve continued my pre-work schedule of writing for about 30 – 45 minutes before switching to day job mode and I think it’s helping. I’ve made some progress on a couple of longer poems that have been hanging about for a while. I think the idea of the graft required to get them anywhere was subconsciously putting me off working on them, but nibbling away at them over the last two weeks has been quite restorative.

It’s interesting that it’s longer stuff that’s being worked on. I didn’t think I was a long poem kind of poet at all. The sustained level of thought didn’t seem like me at all, and perhaps it isn’t. The poems may well be shite, but I like the idea of a concise idea being spread out—if that’s not an oxymoron.

It’s also interesting in these times that it’s taken so long to get into a routine for myself; the work routine happened pretty much straightaway.

I think, for me, the end of summer and the return to school has shaken me out of the stupor a bit, made me accept the long haul of it all. There was a lovely quote from someone on an online research community for work that said something like, “At least if you’re in prison you know when you’re getting out pretty much to the day. Lockdown, etc isn’t like that – it’s the not knowing.”

Mat Riches, Where Eagles Beware

if i said sunflower
might you say vangough or
describe at length the fields at sunset
the ones that sell calendars

turn your head with the sun
raise this late september garden
when the sedum sighs in the downing

look me in the eye sunflower bach
turn this burning summer into
a quilt of gold
the days of a child’s sherbet

Jim Young, the sunflower

Through more than a dozen trade poetry collections, [Phil] Hall has mined further and deeper into the complexities of language, his histories of abuse, addiction and recovery, and his attentiveness to mentors, contemporaries, tokens and folk art. As he writes in the sequence “Stan Dragland’s Wall”: “So folk art   & fine art   are one // folk   in its shed materials / fine   in its poetics of   amodal   disrepair // as with the first papier collés  by Braque 1912 / we must bring to this wall   a multiple perspective [.]” He stitches together a whole cloth out of scraps, and something valuable out of what others might easily discard, or overlook, allowing for a perspective more humble, and more democratic in scope. He writes Roy Kiyooka, Dolly Parton, Stan Dragland, Nudie Cohn, Lorine Niedecker, Emily Dickinson, Robert Duncan and Eugene Mcnamara. He writes of “the legendary Joe Junkin,” “the goalie for the Bobcaygeon Ti-Cats [.]” He writes of rude songs, typos and the bottom of the seemingly bottomless bottom. 

Increasingly, Hall writes an unbroken, elegiac line composed of lyric fragments, cadence and the pregnant pause, moving further along a path he constructs as he walks, following bpNichol’s “poem as long as a life.” In NIAGARA & GOVERNMENT, more than he has done with his other recent works—including Conjugation(Toronto ON: BookThug, 2016) [see my review of such here] and My Banjo & Tiny Drawings (Toronto ON: Flat Singles Press, 2015) [see my review of such here]—he writes as though his life depends upon it; how recovery is a process not a goal-post. He writes with the perspective that the true way, or at least his way, through and potentially past the far end of trauma is through language: “without a mask I am no past / without a past I am an amalgam devoid of loyalty // except to the presenting moment / its deep accordion sigh // the next word has / my true ancestors within it [.]” (“Bottom”).

rob mclennan, Phil Hall, NIAGARA & GOVERNMENT

Poems where far too much happens.

Poems where nothing happens at all.

I’m just an old man with a pencil and paper 

Waiting for the coffee to brew.

James Lee Jobe, Poems where nothing happens at all.

Poetry Blog Digest 2020, Week 38

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.

This week’s digest comes front-loaded with poetry because I feel there’s been a bit of a deficit of actual poems in recent editions. Of course personal essays are always the bread and butter of this series, along with book reviews or appreciations and the occasional literary criticism, but let’s not lose sight of what we’re all about.

Though as the rest of the digest hopefully demonstrates, poets do tend to be pretty damn good at not losing sight of important things—even (or especially) those things that the culture or the state is heavily invested in us not noticing.


There’s a farmhouse at the edge
of a Romanian village, lonely and thick
with shadows as dusk sets in.
People inside are afraid to turn on the lights.
Once in a while, stones fall
from the sky, dent the roof, chip bits
from the eaves. Stones fall, never bigger
than someone’s fist, never hurled
from great distance to burrow
through the roof and kill.

Romana Iorga, The Meadow Is Filled with Stones

At first I think I hear the binder,
wheels beating, turning at the headrow,
but the fields are bare.
Such a beating, a clattering.
More geese searching for a lake
in this land of furrows? Or
the rector in his Wolesely
come to seek me out?

Dick Jones, FLIGHTPATHS – POEMS ABOUT AEROPLANES

I think of my father,
if I’m meeting him

here. This
night-colored wine
wavers between us,
its taste shaped

by so much waiting.

José Angel Araguz, new poems out in the world!

this morning I was finally able to go outside and breathe I stood on the front porch and inhaled the scent of rain soaked forest then I went out to the deck to take that photo of a sugar maple in my yard I opened all the windows in the house put the screens in then drove to the beach there is some stuff going on with my mental health that I am not ready to write about here and so I am stopped from writing anything at all for now last night I dreamed of a giant cabbage and women with weary intelligent eyes and huge dogs I am okay but not okay I will be okay just checking in here to say hello hello

Rebecca Loudon, Pig and farm report

I’m sick of the coronavirus. Sick of wildfires and hurricanes.

Sick of hate-mongers and a derailed America. I’m sick of Twitter tantrums and conspiracy rants.

Sick of days so bleak, it’s like a chapel of black cats is a safer place to pray.

Sick of flossing with barbed wire and counting the newly bloomed flowers along the boulevard of the bereft.

Sick of watching the walls close in, businesses close down, neighbors move out.

Yet despite it all, I still recall those stories written on your skin. All the stories written on my skin.

I still marvel at our shared storylines, all our mysterious twists and turns.

How they held me, how they held me.

Rich Ferguson, Second Thoughts in the First Person

That video brought to mind something my family used to do years ago, when the kids were little. If someone cut us off in traffic or was rude in public we’d say, “What is her story?” and then everyone would volunteer random possibilities. Her baby was up all night or a stone was stuck in her shoe or she’s late for work (or as one of my sons liked to contribute) “her butt itches but she can’t scratch it.”  It didn’t just distract us from our annoyance, it was a playful way to consider other people’s perspectives. I hoped this practice let us feel closer, for a moment, to the oneness underlying all life on this planet.

Laura Grace Weldon, Reframing the Story

It was freezing in the winter. I got those Dickens gloves without fingertips. It was sweltering in the summer. I took off all my clothes. It was at that desk that I made [Once he forced a small miracle…] and [Fluid the promise…] and many others. I was in the apartment in July 2018 when Sarabande offered to publish the book.

After a year I moved to an apartment closer to the sea. It too had a desk, but a small and charmless one. I adopted the dining table. I lived alone. I could. In March I left in a hurry for Germany without giving the future much thought. All my things are still scattered across that table with no one to touch them.

I’ve been back with my family in Germany through the spring and summer. It’s greener here. I speak the language.

I took the day off as a gift to myself for writing a book.

Sarah J. Sloat, Hotel Almighty

I’ve brought the angel wing into the house now that the temperatures have dropped below 15C. The perennials are dying. Or going dormant.

The honeysuckle has twined its way far fast the trellis I put up in May. It’s choking the thuja, but blooming with such a fragrance that I can’t bring myself to cut it back.

I do have hope. There’s the winter to read, and to learn. And there is something to be said for learning one’s place in the making of things.

Do not be daunted by the enormity of the world’s grief. Do justly, now. Love mercy, now. Walk humbly, now. You are not obligated to complete the work, but neither are you free to abandon it.

INTERPRETIVE TRANSLATION OF TALMUDIC TEXTS. Gratefulness.org

There is a personal grief in private failures, in every missed deadline – every lost hour.

Ren Powell, Cultivating My Mind

She walked until                                 she couldn’t
identify a single species of tree

to learn anew
                                         which one yielded edible berries
if Pandanus bore flowers
in the rosette                               of spiked leaves

Uma Gowrishankar, the flower discovers the poet

They are cutting down the pine tree on the corner. It was maybe 80’ tall and almost three feet in diameter, perfectly healthy, an old tree full of years. And now it’s mostly wood chips. Today, for the first time in weeks, the sky is blue, and there is more of it than before. I walk past, grieving.

air quality index
counting the trees
we have left

Dylan Tweney [no title]

In a time of grief and gravity and gratitude for some wonderfully-lived lives, I happen to find myself reading Mark Doty’s book What Is the Grass? Walt Whitman in My Life.

And I find this paragraph; and for now, I need add nothing more.

The dead are not lost, but in circulation; they are involved in the present, in active participation. Bits of them are streaming through your hand and mine, just as language is circulating through us. Lexicon and materiality forever move onward and outward in the continuous wheeling expansion this world is. This is no mere philosophical proposition on Whitman’s part, not an intellectual understanding but a felt actuality. We are alive forever in the endless circulation of matter. Nothing luckier, stranger, or more beautiful could ever happen. There is no better place.

Ann E. Michael, No better place

What is a love poem in the underworld, in the light, in that worst of all place in between? I orca between them, or crawl. Liminal. What if the beauty is only that.

In my kitchen, a love poem to the vixen by Adrienne Rich. For a human animal to call for help on another animal is the most riven the most revolted cry on earth, she says while I drink my coffee all sharp and soft.

When covid was killing me, I ate oranges two, three at a time. How my body demanded them, sure they would save me: how I scraped their peels with my teeth for even pulp. How I wished I could get them all the way inside my lungs, rub the dying walls with their acid light. Convinced. If I could just—

Corona: a halo of light, hallucinatory and orange. Too late now for arrhythmic heart, a thing that actually happened. Too late for sacred marriage, also a thing that actually happened. What the body remembers is joy: that part was real, and while some is better than none, all is what is required—and so it was immolated. A fever dream, teethmarks in pulp and bone on waking: the body remembers that salmon colored haze is where this all began. In fire, and cilia burned away. If I could just—
Just—
Even corona extinguished, only the carving is left

JJS, Covid-19 and Other Deaths: The Descent

Before Tisha b’Av, I gathered a group of liturgists to collaborate on a project that became Megillat Covid, Lamentations for this time of covid-19.

In recent weeks we’ve gathered again — in slightly different configuration — to build something new for this pandemic season: a set of prayer-poems for Sukkot and Simchat Torah, which we’ve titled Ushpizin. That’s the Aramaic word for guests, usually used to refer to the practice of inviting ancestral / supernal guests like Abraham and Sarah into our Sukkah… though this year, what does it mean to invite Biblical guests when many of us don’t feel safe inviting in-person guests? That’s the question that gave rise to the project.

The prayers / poems that we wrote arose out of that question and more. What does it mean to find safety in a sketch of a dwelling in this pandemic year? With what, or whom, are we “sitting” when we sit in our sukkot this year? What about those of us who can’t build this year at all? And what can our Simchat Torah be if we are sheltering-in-place, or if our shul buildings are closed, or if we are not gathering in person with others? 

Rachel Barenblat, Liturgy for Sukkot in times of covid-19

To the best of my knowledge, Ellen Bass does not identify herself as a religious poet, or as having any personal belief in God. What I love about this poem is the way that she has kept that worldview out of the picture as it were and created a universe in which it is possible to imagine a being (Anne Lamott says if you can’t cope with the word ‘God’, try David Byrne, the name of your favourite pet, or the word Phil) who is sentient, suffers, and therefore goes through grief like the rest of us, its ‘heart huge as a gray whale’. As I enter a new stage of grieving, this is the kind of god/God I want to believe in. That Ellen Bass has outstripped her unbelief and created this space in which it is possible to spend time believing, if only briefly, is something I am grateful for this morning.

Anthony Wilson, God’s Grief

cut out the dead herb growing spirals inside your chest
inside the sour plum, find a seed with the initials of god

see how the mouth hungers for the unwritten century
collect, if you can, the honey left by ants on the road

in the morning, run and unfasten the gate to the sea
keep the first feather that brushes against your throat

Luisa A. Igloria, resetas (1)

It has been a labor of love to walk this one into the world. There are poems gathered here that were composed years ago in sweeter times – and others written through days more heartbreaking and challenging.  Initially, I envisioned this collection to be one of grief and bereavement.  What else could it be after the sudden death of a husband?  In fact, when I first organized the manuscript under that tarp, it was titled Clutter & Scree – the things left behind, the rubble that proves difficult in which to establish firm footing.  The poems then were largely too fresh, too close, too raw, and at a time I simply needed the motion and process of writing as one might need a trekking pole on a hike.

The manuscript as such did not initially get picked up.  So, I pulled it apart, blue-taped the poems on the walls of an empty room at home, and spent a winter subtracting, adding, writing, revising, and organizing what would become Curating the House of Nostalgia.  I aimed for better balance between between the two titles.  The collection shifted from straight sorrow to envelop the beauty that ultimately embraces and occasionally overshadows heartache in one way or another, often in small ways.  With each day comes night.  What else could this manuscript be from a northern woman poet who refuses to claim the word widow?  This shift was especially important as my now 14-year-old daughter and I continue to move forward in ways that are hopefully both spirited and healthy.

Kersten Christianson, Curating the House of Nostalgia

I recently ordered a 2021 calendar–I favor a portable Moleskine number–but, with heavy-handed symbolism, the order keeps being delayed. I’m a planner by temperament and I SO wish I could anticipate my future doings again. Not possible. It’s all clouds.

For the near term, all a calendar-minded person can do is brainstorm short-term ways to mark the passage of time, because around here, the cooling air and spots of yellow at the tops of trees strongly imply that the fall equinox is near. I keep daily work rhythms, even on sabbatical. On Saturdays, we take walks somewhere outside of this small town, hiking in the woods if we can. I’m applying for writing-related opportunities that might bear fruit next spring or summer. Other people are desperately trying to layer multiple workdays on top of each other right now–work, homeschooling, other responsibilities–so feeling lost in blurry weeks means I’m getting off easy, but to a surprising degree, it’s still a stressor.

Here’s a small anniversary: my fifth poetry collection, The State She’s In, was published on March 17th, 2020, so if it were a baby, it would be a chubby little person rocking forward onto its hands and trying to figure out locomotion. I bought it flowers and arranged a photo shoot to celebrate the occasion. It actually IS a book about time, among other subjects–the history of my region but also the approach and arrival of my 50th birthday, an event that I could watch descending like Wile E. Coyote awaiting the anvil. Processing age and change, I wrote many poems that reference the dreaded number explicitly (as in “Fifty-Fifty”) or use 50 as a formal constraint: poems of 50 syllables, 50 words, 50 lines, and more. I’m sure much of that formal play is invisible. It worked, though. Attacking a number every which way gave me some control over its meaning. I wonder if I could do some version of that by writing poems about 2021? I refuse to give 2020 that honor.

Lesley Wheeler, 6 month birthday for THE STATE SHE’S IN (time does not exist)

I’ve been trying to take things a little slower lately. Maybe it’s the shortening days, maybe it’s a hangover from lockdown when life slowed almost to a standstill and I was actually able to notice the small things for the first time in ages. As I write this, there’s a wasp crawling up the pane of the patio door. It does this busily, zithering about (zithering, if I remember rightly, is a word I picked up from Jacob Polley’s Jackself – he uses it to describe greyhounds I think, but it suits wasps equally well). Of course, the wasp is trying to find an exit, in order to survive. Everything it needs is out there, beyond the glass, easy to see, hard to reach. If the wasp slowed down a bit, it might realise how close it is to freedom. As it is, it continues to buzz frantically, getting nowhere. Eventually it will burn out and drop to the floor exhausted.

Okay, I’m not the wasp. Not exactly. But I know that feeling of trying too hard to get to something that seems close, tangible, achievable, having to work like fury to get there. Poems that come out of that state of mind generally don’t please me, and neither does the process of creating them. I’m not saying that I now intend to sit about and do nothing in the hope that poems arrive unbidden. Most likely they won’t. But I have promised myself I won’t be so anxious about ‘doing’ things and overloading myself. Hence the photograph above. We spent Sunday picking blackberries to make some wine. I had a hundred other things I needed to do but I gave myself over to picking this humble fruit. It was slow work, but the sun was out and the fruit was ripe and I felt like I was doing something important. The blog didn’t get done on Sunday because of this. It didn’t get done yesterday because I had a heavy day at work. I’m writing it today because I feel like it. This is as it should be.

Julie Mellor, Blackberry moon

I’ve recently took a little inventory of new projects and while this year has been a doozy on all other fronts, and while I was paralyzed a bit when it came to writing and creating through the spring, there is still quite a bit of work to show for the summer months–the overlook poems, the tabloid pieces, the bloom project, and now, my series of plague letters.  While visual art feels a little bit harder to settle in with (mostly due to time constraints) I am enjoying the video projects. On the whole, a productive season as we settle into fall.  I have a few more epistolaries and then I’m not sure where to go next, but we’ll see what I’m in the mood for.  I have a notebook full of projects and ideas that are ripe for the picking.

Today, warmer weather, but it’s supposed to get colder by the end of the week. There has also been strange milky white skies from the smoke in the west way high in the atmosphere.  People are dying and the worlds on fire, so it seems hard to exist sometimes. To person sometimes. I’ve been busy, so less for the doomscrolling now that the semester has started and my days are full with reserves and ILL.  I spent the weekend in Rockford, which at least granted some outdoor campfire s’more activity in a summer that has barely been a summer.  As always, I most like coming home. 

Kristy Bowen, notes & things | 9/15/2020

This week was so stressful, among other things, I broke a tooth in my sleep. My regular dentist couldn’t get me in because three other patients had done the same thing that day. Hoping to get it fixed on Monday, but of course every dental trip brings anxiety because of Covid risk. […]

The enforced enclosure of the terrible smoke did result in one good thing – I got to catch up on my reading. Besides reading Joan Didion with my mom (this month: The Book of Common Prayer), I finally read the wonderful third book from January Gill O’Neil, Rewilding. (Pictured to the left: Sylvia loved my “fall mood” table so much that she came and put her paws directly on January’s book! She really does love to cuddle a poetry book!)

This book addresses the natural process of rewilding – what happens when we leave a field or a stream alone for a while – and the dissolving and building of bonds between family members during a divorce. January’s language is clear and straightforward, but lovely, in this collection that will move you and make you rethink your own search for your rewilding self.

Jeannine Hall Gailey, Field Guide Book Giveaway Winner, a Heck of a Week: Broken Teeth, Birds in Smoke, and Saying Goodbye to RBG, Poetry Reading Corner – Rewilding

A rare glimpse of an owl hunting in the park. I imagine a field mouse running for its life. Watching, I feel so hollow. I am a steel tube. Something is missing inside of me. Empty. What? The owl rises back up from the field, flapping hard. She has something in her claw, but I can’t tell what it is. A slow mouse, perhaps. She lands high up in one the tall pines to eat in privacy.

James Lee Jobe, No, you fool, it’s only the moon.

“And there you are – happened a few minutes ago.” In a sense, this is the retrospective acknowledgement that a subjectivity—you—has been constituted by this text, and that someone is now looking back upon and narrating you’re having happened here. And now, this “voice” is proceeding to weave you into its own material, which is sutured to the cosmic and the violently technological. That is, “you” exist here as subject in a process of analysis, subdivision, transduction, routing and relay, etc. As reader, you are partly subjected: an operation is happening here, and it is not immediately clear what it intends.

R.M. Haines, Reading the Pharmakon: Part III

why do i re-read this?

is that turned corner stuck in my craw?

are the words vesiculating

in your / my / that heart?

so many question marks that

i have to re-read it again and again 

that turned down corner

stuck in this my crowing

Jim Young, why do i re-read this?

Readers who think they can see what a poem’s “about” (who can paraphrase) have a foundation to help appreciate the poem. It probably means that the poem has some cohesion, which also aids conventional understanding. It may only be a prop to be discarded after use, but there’s no harm offering a helping hand to readers, is there?

If a collection has aboutness (e.g. a theme or two), the themes can provide the narrative for a review, which helps both poet and reviewer. It makes commercial sense for the back cover to say what the collection is “about” even if a minority of the poems match the description. If the poet’s autobiography matches the theme, so much the better.

But “aboutness” isn’t univerally popular. I’ve heard poets say of a poem of theirs that “If I knew what it’s about I wouldn’t have written it.” I rather like trying to discover what a poem is “about”, which is perhaps why I’m not so keen on single-theme autobiographical collections. I like trying to work out how a poem achieves its effect, which leads to psychology and market awareness more than soul-baring. Even if a poem doesn’t work for me, I’m interested in how might it work for others.

Tim Love, Aboutness

Richie McCaffery is an unusual poet. To start with, his poems are immediately recognisable. And then there’s his commitment to his method. Instead of shedding a skin after every book, reinventing himself for the following collection, he chips away at his concerns. This quality shines through once more in his new pamphlet, First Hare (Mariscat Press, 2020), which builds on the foundations of his previous books, layering them with additional nuances in both aesthetic and thematic terms.

I’ve mentioned in the past that McCaffery is one of the best in the business when it comes to so-called poetic leaps. This device involves the invocation of an object, person or situation, followed by an unexpected, startling comparison with another object, person or situation. The comparison might at first seem incongruous, but poets of McCaffery’s skill render it inevitable and enlightening, thus capturing their reader.

One such instance in First Harecan be found in Lighthouse. This poem portrays a picture that’s hung on a bedroom wall in the first stanza; the second stanza introduces the figure of a sleeping partner; the third then brings both elements together as follows:

…It’s drawn in such a way
to imply that the onlooker
is deep in the eye of the storm.

Matthew Stewart, The darkening hue of the years, Richie McCaffery’s First Hare

I was also very pleased to discover the work of Jamie Baxter as a result of Matthew Stewart’s (him, again, FFS!!!) success this week with placing a poem in The Spectator.

I urge you to seek out this poem by Jamie. I am going to dig into his poems as soon as I find some more. I understand he’s not got a pamphlet or book out yet, but I hope this is resolved soon.

And to go and get a copy of The Spectator to see Matthew’s poem. I know there are many things wrong with The Speccie (not least that they continue to give Rod Liddle, T*by Y*ung and James Delingpole opportunities to peddle their racist, shortsighted shite*). However, it does feel like this is a shift into a different world for Matthew’s work. I am sure that Hugo Williams has a very different editorial approach.

The idea of being published in poetry journals and websites, etc is, of course, an absolute dream. He’s been published in a great many of the “biggies” and, still, of course, it’s important to try to get into them. I certainly won’t give up, but when you’re being published in places where the opportunities to be seen and read by folks that may not normally read poetry are increased is a massive achievement, and for that I applaud the lad.

*Please note that I know Matthew does not share the views of that particular bunch of shithouses.

Mat Riches, Echo Location

Lately I’ve been feeling some sadness about the cool classes that I used to teach, about all the classes that I will likely never teach again.  Of course, I’m remembering the fun parts, the actual teaching, not the endless grading.

Part of my sadness is triggered by finding some old teaching materials when I cleaned out some boxes, materials from almost 20 years ago now, back when I was first teaching creative writing.  I cut out all sorts of pictures of humans from magazines, mainly from ads.  Each student took a picture from the envelope–some terms I let them look at the pictures, while in others it was done blind.  Then I asked a series of questions to help people think about the picture as a character.  Then I walked them through the character’s deepest desires in a way to help them think about plot.

I kept the pictures because I thought I might want to do the exercise some day–but I’ve never had any trouble creating characters.  Plus, there was always the chance I might teach creative writing again.

I also had a huge interoffice mail envelope full of words that I used for a sestina exercise.  First we read a sestina and tried to ascertain the pattern.  Then I had them choose six words and put them in the end of each line in the correct order.  Then I gave them some writing time to see what happened.  Did we create brilliant sestinas?  Rarely.  But it was great fun.

I realize that even if I had gotten the kind of teaching job where I used these teaching materials all the time, I still might arrive at a time when I needed to decide whether or not to keep them.  Sandra Beasley has a poignant blog post about the closing of an MFA program, and I think we’re just seeing the beginning of lots of program closures of all kinds. 

My grief is not that kind of sharp grief, but more the mid-life kind, the kind where I stumble across an artifact and think about where I thought I was headed and where I am right now.  I realize it’s not where I’ve ended up–that could still change, although many of my options look a bit less bright now than they once did.  But finding those artifacts is like getting a letter from my past self, in a way.  What would my future self observe?

Kristin Berkey-Abbott, Letters as Teaching Ideas, Artifacts as Letters

My devotion might have been particularly acute because I had nowhere else where I taught on a regular basis. Tampa will always be where I developed my workshop style: bright, performative, probably reading- and vocabulary-heavy, hopefully with a lot of laughter to ease the rigor. Tampa is where I developed my first dozen go-to hourlong lectures, which I’ll carry with me for the rest of my teaching career. Tampa is where I discovered what I’m most gifted at (line edits) and what I spend way too much time on (line edits). Tampa is where I had the time to form lasting mentorships with students, often seeded by the solidarity of shared identities or reference points. 

Tampa is where, ironically, I learned these mentorships were not limited by geography. I took student work with me to Cyprus, to Kansas, to Ireland. I conferenced with a student on my wedding day, while someone fussed with the back-closure of my dress. I conferenced with a student while I was hunkered down on the floor of my SW DC apartment with my dying cat. 

Students, you have been so, so kind and patient with me, and you trusted me with such valuable material of life and art. I’ll never forget that. 

On the scale of 2020 losses, this is bearable. I’ve already heard from teachers delighted by the UT transfer students landing in their respective low-res MFA programs. I have every faith that they’ll thrive. I’m fortunate to have a final two talented students, both of whom I taught in earlier semesters, with whom I’ll get the satisfaction of shaping thesis manuscript–one last poetry collection, one last nonfiction work.

That said, I wish we’d gotten a proper send-off. When we met in January of this year, though there was open concern, there was also a resolve to rally and recruit. By February, the program had been shut down via an e-mail. In March, all of our AWP gatherings were cancelled. The June residency moved to Zoom because of COVID-19. I suspect the January 2021 capstone events for our last round of graduates will also be online or, even if there is an in-person component, it will feel risky for our scattered (former) faculty to fly in for the festivities. We deserved one more dance party. 

Sandra Beasley, “The End of an MFA”

Much has been written about meetings by Zoom, Google Meet and the lamentable MS Teams. In general terms, I can only add that online work meetings have been more focused and more courteous, with much less interruption and talking over one another. For poetry, it’s been a boon, of course, enabling launches and readings to be attended from anywhere in the world, and Leicester. Not that I’ve been to that many – work’s been so full-on that frequently the last thing I’ve wanted to do of an evening is continue to stare at a screen. There have been some memorable events, though, chief among them Happenstance readings/webinars involving Alan Buckley and Charlotte Gann, in support of their respective brilliant recent collections. It isn’t the same as being there in person, naturally, because you can’t go and talk to the poets after and get them to sign copies of their books, or natter to other poet friends.

Write Out Loud Woking, hosted by the estimable double act of Greg Freeman and Rodney Wood, has seamlessly gravitated from the cafe in The Lightbox to Zoom, enabling guest readers from far afield to join in the fun, welcoming and diverse proceedings. I’ve tried out five or six new poems in those Zoom readings, which has been very helpful for hearing where the poems catch and need tweaking. More to the point, it’s been lovely to see all the regulars, like Karen Izod, Heather Moulson, Ray Pool and Greg and Rodney themselves.

The Red Door Poets have also moved to Zoom and at a time of day more conducive to my occasional attendance. I’ve also attended a few Poetry Business virtual residential weekends and one-off workshops, all of which were as inspiring as if they were in-person.

Heading towards the last session of this current, 2019–2021, Poetry Business Writing School programme, I’ve been grouped with Jim Caruth and Philip Rush, two poets whose distinctively personal poetries are right up my street. So far, we’ve had two very enjoyable Zoom sessions, comparing notes on various poets’ poems and workshopping our own, with another session due soon, shortly before the final Zoom session with Ann and Peter Sansom and the other participants. The plan is still, I think, that, Covid restrictions permitting, there will be an end-of-programme celebration next February or so at the Wordsworth Trust at Dove Cottage in Grasmere. I know from last time how exciting a prospect that is.

Matthew Paul, The last six months

I’ve been thinking, as I often do, about how both photography and writing are on many levels about waiting, the discipline of waiting. Someone last week on Twitter wrote that hope is a discipline. And I was thinking about how photography, and writing, but maybe more tangibly, photography is about hope. Photography is about waiting and hoping that the light will be interesting or workable or better yet, magical. Photography is about that hope that our seeing and our skills will converge with a lucky or split second, with a sweet moment of light or an essence or quality of the day that is surprising or at the very least lovely.

A book I’ve been dipping in and out of for months is Blind Spot by Teju Cole. I highly recommend it for those interested in photography, writing, noticing, being alive, alert.

The intro to the book is by another writer I admire, Siri Hustvedt. In it she says, “The camera’s eye is not the human eye. The camera takes in everything inside its frame. We do not. Human beings have poor peripheral vision. Details vanish because we cannot focus on everything at once. Sequences blur.” Because I do a lot of my seeing with a camera, I often see things at least twice. Anyone who processes their photos in Lightroom or another program, is looking at what they’ve shot in a way that is not our usual way of looking. And so that in turn affects future seeing, looking, noticing. Am I any better at seeing the world than anyone else? I doubt it. But the discipline of pursuing an image I’m interested in seeing in a digital form has taught me a few things. Well, obviously, the discipline itself is a thing.

I’ve learned that sometimes we see what we’re not seeing. We know, somehow, that those things at the outside edge of our peripheral vision are there. The camera has trained me to trust in what lies beyond the focal point. Anyway, the book is great because it’s an amazing example of how we process what we see, what’s in the frame, what’s just out of it, and then all those other things we bring to an image, things from way beyond it. We process a lot more than we think we do. But it’s good to sit with things, process how we’re processing, to allow ourselves tangents, peripheral thoughts, precision but also blur, quirkiness and the obvious, not to mention the ordinary and the odd, expansiveness and detail.

Shawna Lemay, Waiting is a Discipline

As news of Ginsberg’s death moved swiftly on Friday, I saw a slew of reactions along lines I’ve come to expect in the aftermath of any perceived political threat: “Of course they can’t fill her seat until we have a new President!” (Yes, they can, if enough Republican senators toe the party line, which they have done unfailingly for the past nearly four years.) “Now we really have to get out the vote!” (Sure, of course, but with respect to the question of the Supreme Court in general and Ginsberg’s seat in particular, that ship really left the dock in 2016.) Inspirational memes about coming back to fight another day. (Without any acknowledgement of how unfair the fight is, or how the unwritten but fundamental rules of engagement have changed, or how losing this fight might make future fights almost impossible to win.)

Initially these responses filled me with frustration because they remind me of 2016 me and because I cannot understand how anyone paying real attention now can think any of those responses are grounded in reality. Later, they filled me with sadness because that is just where a lot of people are, and it’s how they hang onto hope, and I have to accept that reality, too.

Please don’t misunderstand. I know that hope is crucial and that we are truly doomed if we all lose it, but it needs to be a critical hope. Our hope needs to be grounded in what is actually true right now today, not in what used to be true or what we wish or believe to be true–which means facing and feeling our sorrow and fear rather than pushing them away with half-truths that make us feel better. We need to accept the contradictory truths that things are terrible and that hope is reasonable so that we will take actions that might actually make a damn difference in our fight to make a better world, one in which we can all live and work without threat of death and raise children who believe they can make good lives for themselves on the soil from which they sprang.

Rita Ott Ramstad, Testing, testing

The universe is
a pair of angel
wings. I have seen them.

The angel itself
is dark matter, of
course, which I have not
seen. See dark matter?

Don’t be silly.

If you could see dark
matter, you couldn’t
hope to see the wings.

Tom Montag, THE UNIVERSE IS

Poetry Blog Digest 2020, Week 35

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. This week, I found myself drawn especially to posts on language, human and otherwise. And writers are turning over new leaves, just as storms are turning over old ones. One way or another, new energy is being summoned up.

A huge shout-out to everyone who completed the Sealey Challenge and read a book of poetry every day this month!


In the mornings – now that autumn is close – I sweep dead petals out of the yoga space. I lay out the mat, light the candles, and finish my coffee staring at the clouds through a rain-stained glass.

The first forward bend reveals the dreams lodged in my joints. The arching of my back makes space for them to free themselves, and fall away.

Right leg back, and arms overhead in a crescent lunge: inhale again. Stay upright. Stay open. Acknowledge the bones of the neck, give them the space they need to speak their wisdom.

By the time I put on my running shoes, I am ready for the chatter.

Ren Powell, Easing Mornings

What if our tongues were to escape the pink pillowy room of our mouths?

Gone voice, gone singing, gone drinking, gone soul-kissing.

Tongues not even leaving a Dear John letter or welcome mat in the vacant space they’ve left behind.

Tongues simply gone off with other tongues, learning new languages, tasting new foods, experiencing new loves, new grooves.

Tongues threatening to shack up in the mouths of others if not treated better.

Tongue-twisted, tongue-tied. Civil tongue, giving tongue.

Oh, for the gift of a mother tongue to truly express how much I’d miss my tongue.

Rich Ferguson, Waving Goodbye to a Tongue With a Shaky Hand

One day I want to write an essay about how studying saxophone in middle school opened up a vast world for me, that, as a little Jewish boy in Ottawa I had had no conception of. The rich imaginative, political, spiritual, powerful world of mostly black American musicians. I think about being in suburban Canadian bedroom listening to Charlie Parker and John Coltrane and reading everything I could find about them. I’d babysit on Saturday nights and then make a pilgrimage to Sam the Record Man in the Bayshore Shopping Mall where I spent my earnings, learning about jazz. The world they lived in, their concerns, the sounds they pursued, the economic and political issues, the stories of their lives. Of course I could have no real understanding, but it was a portal, an opening that pointed to a much larger vision of what was and what was possible than I could have know otherwise.

Gary Barwin, Thank you Charlie Parker

Berger compared the drawn line to music, saying that the line emerges from somewhere and leads you on to someplace new. As a musician, it’s always been helpful to me to remember that music is never static; it’s always coming from somewhere and going somewhere. As an artist, I agree with Berger too: the drawn line arises and moves forward, and so do I, the draughtsperson. Each drawing takes me somewhere I didn’t anticipate, and in some very subtle way, changes me. But during the time when I’m drawing, everything except the line is very still.

Beth Adams, Hermit Diary 37: Beginning Again, and Again, to Draw

In that training circle
in the Amherst Writers Method
Pat Schneider’s living room,
I learned how to listen deeply,
not only to others, but to my own soul.
How its voice could raise a bell
in celebration with and for others.
How its lonely distant train whistle
on the night breeze could help
relieve others’ suffering.

Lana Hechtman Ayers, A tribute to Pat Schneider

The paper’s quite thick for folding but great for wet on wet watercolour. My illustrations are … well, let’s just say abstract! I wrote a haiku beside each tiny painting and slotted the cards into the folds. I’m no artist, but I do like that feeling of being absorbed in the work, the sort of feeling you get when you’re creating something new. I’m not sure I experience quite the same thing when I’m writing, possibly because it’s less physical somehow.

It’s worth mentioning here that the more haiku I write, the more present I feel – in contrast to the ‘zone’ or ‘mind space’ I need to enter when I’m writing longer poems, or prose. And because haiku are short, they seem to leave more time for actual living. My daily observations and experiences feed directly into the writing in what seems to be a perfect circle/ cycle of life-writing-life. Of course, this is an oversimplification of the process, but hopefully you get my drift. Haiku are less dependent on the imagination, more engaged with reality.

Julie Mellor, Blizzard books

It occurs to me, doubtless again, that revision is the art of clipping away everything we may have noticed in the wild world of detail but which may take away from highlighting what caught our attention, what echoed some inner — what? vibration? emotion? memory? some deep imagining?

I don’t know what it is that makes us makers, what notices us noticing what we notice and calls us to create something, something that records that electric moment. Because it does feel like a kind of recognition, or sometimes a reckoning, that moment.

Today on my walk I asked myself to notice light. Although I draw and paint, I’m not primarily a visual artist, but I know that light and shadow are vital in the world of visual art, so I challenged myself to pay attention to that particular input. It was staggering! All the twinkling of dew on jewelweed, the variegated shadows on fern fronds, how light works its way into the forest, and the astonishing fact of clouds. It was a day of clouds on clouds on clouds leaning on the hills or looming from behind them, and every cloud was an elaborate array of white and gray and gray-blue,  dark edges, white hearts, a little purple, maybe some green. Or was I imagining that?

Should I choose to write about that, my job is, I think, to get down what I noticed, and let what is inside me that caused that interest to rise up and help me find the words. To match those details with something that speaks out of those details.

Marilyn McCabe, You’re where you should be all the time; or, More on Paying Attention

I have a hard time getting students to incorporate research into their creative writing, even the quick Wikipedia kind, but I can’t write much in any genre without internet access–and having friends to interview about mundane details is also a big help. In poetry, specificity is everything. Studying scientific processes helps me understand the world and myself; the textures of unusual words make the language pop. In fiction, people need to have jobs other than mine, and they need to walk around and be doing ordinary things when plot twists surprise them.

Lesley Wheeler, Maps, teaching schedules, and other demented pre-writing adventures

I’ve spent a lot of time lately on my perpetual playing about with the order of the poems in my almost-finished second collection. Glyn Maxwell, in On Poetry (I think), advises strongly against ordering poems chronologically, and I get what he means; yet when poems are collected, I want to see not just that individual poems shine on their own terms, but also that they have some interplay with other poems, thematically and/or chronologically. I’ve been toying with reversing the chronology of my poems, so that those set in the present come first and those set furthest back in time close the book. I daresay it’s been done plenty of times before. On the other hand, I might just take Maxwell’s advice and mix them up, by theme or not, and see what happens. As ever, the problem – which admittedly is a nice one to have and isn’t really that huge in the grand scheme of things – is that I find it so hard to look at my own poems with the requisite degree of objectivity. In the Zoom launch of her Nine Arches collection The Unmapped Woman a few months ago, Abegail Morley revealed that she hung a washing line across her living room, pegged all the poems along it and then shifted them about until she achieved a steady state. It certainly sounds easier than putting them all on the floor and moving them around, because, as I’ve found before, you need a room the size of a small dancehall to be able to do that.

Matthew Paul, Channelling

Writing-wise, I’m working on a new collection. Not that my short Scottish collection that’s been scheduled to be published this year is anywhere near seeing the light of day, nor has my Finnish collection been picked up by anyone, but it’s giving me something new to focus on. In spite of my recent posts about self-belief, I’m still struggling with mine. So I’m snuggling up with my daughter’s crepes and writing poems about strong women, forgotten women on another wet Sunday. 

Gerry Stewart, Looking for Distractions

We seem to have crawled out from under the swampy late-summer air, and this weekend, into something cooler, milder, and less likely to have me tossing and turning in the sheets to find a cool corner of the bed. Summer, corona-style, was barely a summer at all, and I can’t say I am sad to see it go. Mostly it was just heat and work, with a side helping of anxiety. Fall is at least enjoyable when you don’t leave the house much, so I am already queuing up my horror movies and planning to make soups. I did learn that beginning next week, we will be open the usual hours at the library, til 10pm, which gives me back my late mornings entirely instead of a sliver of time between waking and heading out the door. Since we’ve gone back, my writing happens in this flurried space over breakfast watching the clock to make it downtown, then exhaustion by the time I arrive home in the evening. This will feel a bit more like normal, if normal is even a thing at all anymore, which means I can get back to design and layout projects that have been drifting while I try to catch up on orders and tend to other dgp business. Also reading manuscripts for next year (which if you haven’t submitted just yet, you have another couple days.) At the library are also getting a new staff member (finally) in our department which means I may eventually be able to take a vacation (not that I can go anywhere, but a week off work, as I learned this summer, is sometimes very much needed.)

Kristy Bowen, notes & things | 8/29/2020

As we turn towards September, it feels like my energy for writing (and sending out work) is increasing. I’m feeling more hopeful about my manuscripts too, which I worked very hard on editing during the summer, along with writing new poems. Do you find the fall is linked in your mind to increased productivity and happiness, even with the pandemic? Summer is definitely not my season – I’m allergic to the sun, and MS makes you sensitive to heat – and anyway my personality definitely tends towards the “wrapped in a sweater, reading by the fire with a cup of tea” rather than “beach bunny” type.

I know some of my friends who are parents are struggling with having kids at home while working full time, and friends who are teachers and professors being forced to be in the classroom, which brings risk and more stress than usual. How are you adjusting to the coming fall?

Jeannine Hall Gailey, Winner of the PR for Poets Giveaway, The Light in August with Otters and Unicorns, and Looking Forward to Fall (and Working While Ill)

My body has been chanting this excerpt on my death-hikes this week, just coughing up the words with each stride, sometimes in a whisper, sometimes a cry:

Once I fished from the banks, leaf-light and happy;
On the rocks south of quiet, in the close regions of kissing,
I romped, lithe as a child, down the summery streets of my veins,
strict as a seed, nippy and twiggy.
Now the water’s low. The weeds exceed me.
It’s necessary, among the flies and bananas, to keep a constant vigil,
For the attacks of false humility take turns for the worse.
Lacking the candor of dogs, I kiss the departing air;
I’m untrue to my own excesses.

[from Praise to the End! in Theodore Roethke: Selected Poems]

Weed-exceeded, I puzzle for mile upon mile over the word necessary.

JJS, walking chant

The poem pays tribute to “those boys in uniform” but it also captures the problematic ways in which our countries teach us history: “all the men of history sacrificing/themselves for Ireland, for me, these rebel Jesuses.” This obviously isn’t a particularly healthy perspective, but what brings me close to tears in these lines is also how true it is to how teenage girls think, or at least some teenage girls. Falling in love with dead heroes is just the kind of thing a lot of us did at 16. At the end of the poem, when the speaker says “I put my lips/to the pillar…I kiss all those boys goodbye”, we understand that some day she’ll look back at this as a crazy, sentimental, teenage moment. And yet, we also kiss those boys goodbye along with her and we feel the poet’s empathy for those in history who were lost to war, and her equal empathy for the wild emotions of the teenage years.

Clarissa Aykroyd, Victoria Kennefick: ‘Cork Schoolgirl Considers the GPO, Dublin 2016’

In her new collection, Obit, Victoria Chang address, tackles, teases apart grief—always a giant, messy subject. Here, it’s larger, as the poems explore mourning the deaths of both her mother and her father. The poems use the format of an obituary, with a subject and a date or a timerframe, to return to all the aspects, large and small, of illness and death. She writes of the deaths, on their dates, but she includes an obituary for her mother’s lungs, which “began / their dying sometime in the past.” Another poem addresses her father’s stroke: “Logic—My father’s logic died on June / 24, 2009 in bright daylight. Murdered / in the afternoon.”

The poems circle around and return to the dates of death, the dates of the stroke, and in these recurrences embody, for me, the experience of grief and its unsettling relationship with memory. In “Friendships,” Chang notes: “It’s true, / the grieving speak a different language. / I am separated from my friends by / gauze.” She includes a poem for the dress her mother wore before cremation, a poem for giving all the old clothes away, poems about the doctors, even self-portraits (“Victoria Chang”).

Joannie Stangeland, Saturday poetry pick: Obit

Today, in the cool comfort of my home office, because it was too hot outside, I read What Keeps Us Here, by Allison Joseph (Ampersand Press, 1992). This must be a re-read, as all the sweetness, particular candies, and images of “Penny Candy” came rushing back to me, but I probably didn’t read it back in 1992, when I had a two-year-old and was in graduate school. I remembered vividly. too, the innocent thrill of “[f]our brown skinned young girls” discovering their naked bodies in a basement in the poem “Accomplices.” And the sorrow of losing her mother to cancer. 

Probably different things took hold of me this time. This time, I was struck, in “Endurance,” by these two lines: “I should say this plainly: / a woman, dying, seeks God.” Yes, so plain, so strong. And the terrible, beautiful, true moment, in “At That Moment,” of learning of her mother’s death by telephone while away at school. This one connects with a story told yesterday, on Zoom, of when our family friend learned of her father’s death by phone while staying with my parents. She wailed all night long, and my mother sat up with her. And, in Joseph’s poem, “They put me to rest / in the narrow dorm bed, / my room now strange, unfamiliar…” The disorientation of trauma, of grief.

Later, some comfort from “The Idiot Box.” I was glad to see again “Lucy bawling after Ricky, The Odd Couple / clashing, Spock and Captain Kirk / on the flimsy set of the Enterprise” via reruns on late-night tv. Then the poems “Falling Out of History,” its content and its epigraph by James Baldwin, and “Broadside: from Decade’s End” connect to my side-by-side nonfiction reading this week: We Were Eight Years in Power, by Ta-Nehisi Coates.

Kathleen Kirk, What Keeps Us Here

As part of the Sealey Challenge, yesterday I returned to Claudia Rankine’s Citizen.  I read it years ago, when it was all the rage. Back then, I liked it well enough, but then, too, I felt like I was missing something.  I didn’t fall in love with it, the way it seemed that others had.

Yesterday I was struck by the artistry of it, the way it combines all sorts of genres, along with some visual art.  I’m still not sure I’d call it poetry, although it was a finalist for the National Book Award in poetry.  It feels more like a hybrid form that doesn’t have a name.

I circle back to the question of whether or not reading about racism can help dismantle racism.  As an English and Sociology major, I’m a firm believer that reading helps us see the other person’s point of view, helps us see the problems that other experience.

And in a perfect world, reading helps us develop solutions and the resolve to see those solutions through.

Kristin Berkey-Abbott, Reading Racism

This book of poems [In the Field Between Us] is a collaboration between Molly McCully Brown and Susannah Nevison, who exchange letters with one another in verse. It was recommended to me by Jill a few months back, and just recently, she and I have started our own correspondence. We’ve done exchanges like this before (and I’ve written in this way with Beth McQuillen and Ren Powell), but it’s been a long while in all cases, and it feels good to hear the voice in me that speaks to others directly. I’m craving meaningful connection so much right now, and that voice seems vital to it. Even though I haven’t been alone during the pandemic, there’s something about it that feels lonely… and not just the physical isolation we’re still navigating in many settings. Something else. Perhaps fear is a solo flight even during a global event?

That doesn’t stop us, of course, from seeking company. As Brown says in an interview in The Rumpus, “The epistolary form allows the text to navigate this painful, lonely space with an immense amount of company and intimacy. Every time a voice calls, there’s an answering voice.” Yes, please. Dear poets, dear Jill — thank you for keeping me company.

I also like how, in that same interview, Brown describes the themes in In the Field Between Us:  “lifelong, significant, relatively violent medical intervention. It’s an experience that one has to go through alone. It’s inherently singular and alienating. It divides you from other people in the world and from prior versions of yourself.” Isn’t that such a stunning way to consider life — and body — altering experiences? That they divide you even from yourself. The poems in this book grapple with all the versions of the self, as they are created, as they are destroyed. Embodying reality in any given moment, as we are aware more sometimes than others, is a moving target. 

Carolee Bennett, “birth is the first hard frost”

Hardly War and DMZ Colony are difficult to pigeonhole – they are at the same time translation, memoir, poetry, reportage, photo essay, polemic, experiment in radical translation, and an expression of both Choi’s own translation theory and those of others – notably Walter Benjamin, Gilles Deleuze, Felix Guattari, and more contemporary theorists Joyelle McSweeney and Johannes Göransson. Choi’s project is political, but she sees clearly that the political, the racial and the poetic are all bundled together in language. As a translator, she is perfectly positioned, where one of the languages is of the dominant global power and one is of a people dominated by that power, to create a new and itself powerful voice which is able to destabilize the power imbalance, to create a rift or, as McSweeney & Göransson call it, a ‘deformation zone’ which “makes impossible connections… unsettling stable ideas of language”.

Choi examplifies this in Translation is a Mode = Translation is an Anti-neocolonial Mode (from here on Translation) where she builds on Walter Benjamin’s Brot and pain as two words meaning ‘bread’ but which also (in my translation anyway) “strive to exclude each other” because they have different “ways of meaning” (Choi’s translation has this as “modes of intention” but pausing over the different translations of a theory of translation is way too meta for this essay!). Choi relates this to the Korean word for ‘cornbread’, oksusuppang, which combines the French pain with the Japanese oksusu to signify the food that was given to Korean schoolchildren after the Korean War as aid from the US. Here she shows us how the very language spoken strains against Korean sense of identity, nationality and race: a European word (Old Empires), a Japanese word (interim Empire) and a word which symbolises current US hegemony (contemporary Empire). “(M)y tongue”, she tells us “even before it had ever encountered the English language was a site of power takeover, war, wound, deformation, and, ultimately and already, motherless” and at this same level, the tongue level, she says the “seemingly benign humanitarian intention” behind the cornbread handed out by the US “creates involuntary longing, a life-long craving, which could easily be translated as a desire to be colonized”. We begin to understand the potential, the latent power of the translator who works with translation as an “anti-neocolonial mode” when she says “But my tongue deforms, it disobeys. I translate this longing, entangled with neocolonial dependency, as homesickness, which is a form of illness, a form of intensity.”

Chris Edgoose, Twins, Orphans, Angels: on the work of Don Mee Choi

There are those who hate cicadas as they hate the summer sun. I myself love both.  The haters hear cacaphony, noise, intrusion. They hear one solid tone – abrasive – not noticing how the insect chorus of crickets and cicada throbs, then silences, throbs again.  They hear “scissor-grinders.” They hear the snapping of a tab from a cola can, up and back, in magnified repetition.  They don’t hear the hum of deep satisfaction or the sense of time passing and the moment fulfilled, though maybe they hear grief in summer’s end.

I have wracked up an array of pantheistic images of this summer soundtrack which have come in handy this most trying of weeks.  Time slows in August, that motionless high summer standstill.  But I, like many, found myself staring at spectacles of dystopia.  Further incursions of terror.  Election Day dread.  The top somehow keeps spinning, even as it slows down, teeters, leans as far from its axis of normalcy as seems possible.  Light sweat becomes greasier.  The levels of cynicism keep upping, possibly a way of preservation.

The insect chorus kept spinning.  For some species the high-stakes erotic daytime display is a suicide song. But at night, the song softens to a rhythmic chant, a round of pure incantation.  As the dervish dances into trance, the insect night calms to its given.  I’ve heard an eternal soundtrack, the god in timeless dance shaking her string of bells, every night from a different limb.  Or worshippers in thrall to cosmic energies, in a public display of meditation. I’ve heard a sound girdle across the earth’s broad waist, a web of communication, the chanting wordless word of consolation.  It’s there, for those who listen, and I’ll be listening keenly as we shift seasons.

Jill Pearlman, The Insect Chorus

early this morning I was awakened by howling and screeching screams that I thought at first was a pack of monkeys being murdered by coyotes in my back yard I used to live near the Woodland Park Zoo and I have personal experience with howler monkeys 

I woke up Page so he could hear it too and filmed it with my phone at the same time though it was pitch black out there Page thought it was Bigfoot but this is no surprise since this summer we both saw bear scat in the yard and immediately thought cow

the howling went on for a good 30 minutes and I eventually figured out it was two owls mating and sent the video to Mary Moon She Who Holds Knowledge of All Things and she assured me that indeed those were owls having wild owl sex practically on my deck possibly right below my bedroom window

Rebecca Loudon, Pig and farm report

I am wondering if I might find a tomb that I can rent. I just want to lie down on a marble slab for a few nights and whisper my secrets to Death. I really don’t need to move in and live there. Don’t we all have a secret or two to tell? Don’t we all have something to get off our chest? Oh well, the evening breeze is cool tonight. It’s refreshing. Perhaps I’ll just lie down right here.

James Lee Jobe, I am wondering if I might find a tomb that I can rent.

penclawdd – and the

sloughing of a snake-black night
broken boats with mud-arsed sailors
foot-printed down a sworn-drawn breath
estuarine slither-e-slither the delta worms
the sloped-shadowed masts of the mudders
goose-stepped gulls / urchin-crunch-shrined
rag-wormed slime-warm and the long-slow
riding of a tide’s bottom-splat until
the tabernacle bell summons
what! is it muddy sunday already?

Jim Young, penclawdd

Most years in Elul we say
“the King is in the Field” —

God walks with us in the tall grass
to hear our yearnings.

This year, Shechinah
shelters-in-place with us.

With her, we don’t need to mask
our fears or our despair.

When we stay up too late
reading the news again

or binge-watch The Good Place
desperate for redemption

she does too.

Rachel Barenblat, Shelter

So yes, everybody knows. We’ve all got this broken feeling. Might as well talk a good game about how life is, might as well hand out chocolates. We know the dog bites. But as Dorothea Lasky says in her book Animal, “What did my dog teach me about being human? To be gentle. To be gentle and wild and to be able to, but not to, bite everyone.”

Shawna Lemay, Talking a Good Game

Milky fog in the mountains,
thick as sea-foam: so the lizard
tells the hunters to jump in,
the water’s fine. That’s how
he gets away each time—finding
the words to scissor a path
into the next chapter, while
sounds of falling and surprise
echo on the previous page.

Luisa A. Igloria, Escape

Every year as summer wanes, I go back to work resolved to engage with it in a different way. I promise myself that I will keep getting exercise, that I will keep eating real food, that I will devote more time to what is important and less to what is urgent, that I will carve out time for friends and family and creative work, and that I will just not let it all get to me.

So far, every year, I have failed to fulfill such resolutions.

This year feels different. There are two sides to everything, and one side of this time in which so much is collapsing is fear: economic, social, physical, and political threats are all around us. On the other side, though, is opportunity. When so much is gone, changed, and changing, it is easier to let go of what was and try to figure out what can be.

Rita Ott Ramstad, New year’s resolutions

Late August.
The silence
of green dying.

The light
a kind of dust
in the wind.

Tom Montag, LATE AUGUST

Poetry Blog Digest 2020, 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. This week I’m cheating a little and beginning with a post from a couple of weeks ago because I missed it at the time. (Some of the poetry blogs I follow still aren’t in the proper category in my feed reader.) It sets the tone for a digest of mainly sombre and reflective posts as summer comes to an close and schools begin attempting to re-open. But as usual, there are still moments of levity — and lots of poetry books to read.


Once the entirety of my consciousness, a cellular fire, now my grief is most often soft-bellied and tired, complex and nuanced as so much seems to be as I get older. It began as only a void, an absence, a searing loss and now it’s sometimes that, but is also a warm room I can go to when I want to think or just feel. It’s a sail that moves me through relationship storms and it’s a small pebble in my sandal that reminds me to pay attention to others’ pain. It says, “Don’t stay too comfortable, here,” and “Pull your head up and look around you.” This grief used to be only mine and I guarded it jealously, decadently, but then I had children who had also lost my father, albeit many years before they were born, and I had to learn to both share and comfort.

Sheila Squillante, Wellspring

So I guess this is to say, in unusual-for-me-lately-regular-blog-post-style: things may stay sad around here for some time.

But part of grief is immense, inchoate tenderness for the beauty and joy that has been so cherished–and in the digital art practice I’ve been developing in the last few years, the flash/poem habits here: some of that sweetness may well be the catharsis of joy, of beauty, even as it is also finally-inarticulable loss.

My god, I may have fucked up almost everything, or been unlucky, or been injured unnecessarily in ways I don’t have the first idea how to recover from, or or or–but I have also loved beauty and joy with the devotional worship I reserve for the animal and embodied world, for the Salish Sea and the scapula, the vixen, doe, and sycamore, the way the beloved smells in peaceful sleep, the sense that all is right with the world for brief moments of this communion, even when it so self-evidently is not all right at all and the whole horizon is loss.

I am not okay. Not even a little.

But there is blessing in being this kind of animal.

And in being able to walk, and to breathe around the edges of lung scarring: the forest has more help for me than words do right now, so I will lose myself in it until I can find my way.

JJS, A blog post

bent tree‬
‪carrying the wind‬
‪long gone ‬

Jim Young [no title]

my right hand hurts because tendinitis has gripped my first two fingers the fingers in my bow hand my right hand hurts because I have been practicing Bach my right hand hurts because I am anxious my right hand hurts from pulling weeds and kneading bread my right hand hurts because I have been driving so much and I’m gripping the goddamn steering wheel like I’m about to be raptured and I’m not right with jesus I have not treated my hands as precious babies throughout my life they are pretty beat up

I go to the beach every day I watch the beach for hours I am not in a hurry with it I have distributed the silk sheet I have rinsed my hair in a tide pool I know which seabirds will be standing in the mudflats I know how barnacles stink in the sun I know what the tides are I have read and memorized the tide tables I have culled and given away the sea in my head I have considered how long it takes wounds to heal 

sometimes my son feels like my jailer everything wobbles and is in flux especially time during covid I am at 37% or 10% or perhaps 22% I cannot function after a few days of rain last week or two weeks ago or last week or yesterday I realized it was autumn as firmly as a handshake as riotous and alarming as a sneeze or a white boy high five never high five me my right hand hurts from high fives my brain hurts from high fives there will be no more high fives I love my son who takes care of me and he never tries to high five me and I am so glad and so lucky that he’s here

Rebecca Loudon, Pig and farm report

The plunge is breath-taking, awakening, vital. It confirms my body to my senses, pushes the air out of my lungs and into a shout. The plunge is essential for what comes next – the swim into the meaning of paradise: a new day, everything freshly rinsed by night and dawn’s caress. Birds skim the air, call to each other across our bobbing heads. We paddle the length of the reservoir, paddle back, return and turn until we feel the core of ourselves chilled like Chablis. 

To clamber out into the rough care of a towel, is its own pleasure. We talk of stitching two together to form individual changing tents like someone else’s mother made years ago. Many swims into the season, and we haven’t done it yet, but no matter. 

Back down at the car park, filling up now, we sit in camping chairs by the stream, breakfast on tea, hard boiled eggs, strawberries and banana bread. Not even the Famous Five ate this well after an adventure.

I can be back from the hills and at my desk by 10am on these swimming days, having taken the plunge, the waters, emerged from the vigour of a real paradise. 

Liz Lefroy, I Plunge Into Cold Water

The technician slicks her wand with gel, slides it
around the top of her right breast. On the screen,
pictures of moons under the skin.

*

Crepe myrtles blasted from trees by wind.
Sidewalks stippled with fuchsia and white:
another summer slipping off its wrappers.

Luisa A. Igloria, (more) Thumbnails

It’s been five years and five months since I embarked on a project that is far from being finished. The plain navy-blue cardigan is now highly colourful. I can see thin places that will soon need to be repaired. There are patches on patches and patches on darns. The button-band and the buttonhole-band and the ribbing at the bottom have been reinforced. The pockets are no longer usable. The owner is still wearing it, and wearing it out. I think there’s a moral here somewhere, but I’m darned if I can find it.

In other news, the dozen or so plants I grew from the seeds of a squishy tomato have been wonderfully productive. Yesterday I picked 33 ripe tomatoes of various shapes and sizes. They are small, but delicious. The sprouting potato I cut into five pieces has produced five healthy plants that are nearly in flower. And Hari is producing chicken-manure to feed next year’s crops.

Ama Bolton, Visible mending, continued

The last few years in this family have been rough, health wise. Far be it from me to fess up to more magical thinking than is psychologically normal. (None is normal, I’m told. That can’t be right.) But if there is a ever a time to indulge in some elf-sized superstition, it’s now. Why piss off the Elm Realm if you can avoid it?

But I’m not sure how to deal with this decapitated head. I consider a respectful burial. Consider letting it rest in a box with other sentimental things. And then I consult the son who had that elf birthday party many years ago. “Put it back on a picture frame,” he advised. “He’s still our elf.”

Laura Grace Weldon, Elf Trouble

We live in a time during which taking delight in small things is absolutely essential. This week, several small things delighted me:

I stepped out onto our landing on my way to work and was astonished to find this magnificent little snail, pictured here, hanging out by the steps. It has been years since I’ve seen a snail, although they are pretty common around here. I do not know how he made his way up a flight of stairs to find himself lingering on our landing, but I applaud his determination. His shell was a work of art, and I’m no snail doctor, but he looked healthy and alert. His little snail ears were erect and his coloring looked good, or at least what I imagine healthy snail coloring looks like. Clear and unblemished. I was kind of hoping he’d still be around when I got home, but there was no sign of him upon my return from work. I wish him safe travels.

I came across an article on my favorite trash site, the UK Daily Mail, about how to grow an avocado plant from an avocado seed! The article was much-derided in the comments section by sour Brits, their main gripe being that this is a commonly-known thing not worthy of having an entire article dedicated to it. I disagreed wholeheartedly. I had never heard of this before. I was enthralled by the entire process and the resulting vibrant, deep-green plant—to the point that I marched straight to the kitchen, plucked the seed from an avocado, and followed the first step of wrapping it in a damp paper towel and sealing it in a zip-lock bag. Of course Mr. Typist had to pop my plant bubble by insisting that it was going to grow unsustainably huge and that I was creating a monster and had no plan for how to deal with the outcome. He is correct that I have no giant-plant management plan in the case that it turns into an Audry and starts trying to eat us. I’ll cross that bridge when I come to it. Right now, I just want to see a tiny little sprout of green life spring forth from my avocado seed.

Kristen McHenry, Garden of Small Delights

The advertisement was for a rustic cabin for sale. Looking at the photograph, I decided that rustic must mean beat all to hell. I looked down at my aging body; I must be a rustic poet. And then, from somewhere outside of my also rustic house, a dog began to bark. It barked for a very long time.

James Lee Jobe, The advertisement was for a rustic cabin for sale.

The cat is back in Oklahoma. I still talk to him, brace for the possibility he’s underfoot. Old habits. Like this: someone delivers an oversized zucchini I did not ask for. As if it’s a normal August. Nights turn colder.

Someone spray paints “SMILE UNDER YOUR MASK THIS TOO SHALL PASS” on a white sheet and drapes it from a bridge over I-90. I don’t remember when I first noticed it and just now realize I’m unsure it’s still there.

Hulu knows where I am better than I do most days. Whether I watch on the big screen in the living room or on an iPad in bed, it picks up where I leave off. It holds my place.

I email a local music shop to see if they want to buy my french horn. I haven’t touched it in years, haven’t become who I thought I would.

I order makeup I don’t know how to use. I will watch YouTube videos on boy brow and dewy glow and emerge from this a new person.

The retailer promises radiance and a 30-day return policy, like so many advertisers who have my undivided attention. It’s important to buy leggings you can’t see through. Surely, we need new furnishings to elevate our home offices. I guess the company that invented car vending machines prepared us for this moment. But where will we go?

Carolee Bennett, asked about forever, he does not say no

I fell down a rabbit hole of writing–but not far enough to finish the post. I pulled myself up out of the writing hole to attend to painting chores the room requires: repainting the bottom of the open section of the cabinet we built (because we didn’t build it right the first time and had to re-build, which messed up the paint) and painting the door to the room.

I could have done/faked the room tidying I need to do to be able to finish the post (because the post is about the room, but I need some different photos than I’m able to take with it in its current state), but I decided to do the things that really need doing.

And then I spent some time gathering and delivering a bag of treats for a colleague who is home sick with Covid, taking care of her daughter who is also sick with it. I did that because one of the things I’m writing about in the in-progress post is about values I want to live by in the coming school year, and connection with others is at the top of the list. I’ve gotta tell you: Strengthening that connection felt so much better and more meaningful than having pretty office photos and a complete post would have.

After that I took a nap. I’d had a low-grade headache since Thursday, and even though it’s not the kind of headache that disables me, three days of that kind of pain takes it out of me. It makes me tired. There is something so delicious about climbing under cool covers on a sunny afternoon. That sensation might be as healing as the actual sleep. (Health is another value I want to prioritize.)

Rita Ott Ramstad, In progress

Far from the
knife edge of
the moment

they are but
the empty
husks of dead

insects trapped
in a sill.
Try as you

might you can’t
breathe life back
into them.

Tom Montag, WORDS

Can’t believe it’s been more than a month since I wrote.

Occupied with the garden… at last, the butterflies arrived with the beginning of August!

Terrible heat and humidity for most of July, but better now.

Also occupied with finishing up the Syllabus to publish.  

School has started; this is the end of the first week.   

After some weeks of worrying, I decided to apply to teach the course completely remotely, from Zoom.

Since I am in the “most vulnerable” population regarding COVID 19, I was granted permission.  My university is primarily operating classes on a “hybrid”  of half in the classroom, half online.  If the students behave themselves and comply with the many rules about social distancing,  it will work. So far so good.

Anne Higgins [no title]

My dean wrote back to me, and it was the most grace-filled, kind, and understanding professional e-mail I’ve gotten in awhile.  In a week of political conventions, tweets from the president, and the swirl of news of schools opening and closing right back up again, it led me to think about how we’re managing.

I use that phrase in so many ways.  On the one hand, I use it to mean the way we’re all coping with our current situation.  I think I’m coping fairly well–OKish is the term I use when anyone asks me how I’m doing.  And then I copy all the details into the wrong course shell after I’ve checked not once but several times.  Harmless accident or some sort of outlier incident?

I also think about the way we manage in HR terms.  I think about an essay I had students write after reading a chunk of Machiavelli, an essay that answers the question, “Is it better to be loved or feared?’  My dean was operating out of a space of love.  I’ve had more bosses who have operated from a space of trying to inspire fear.

We see these competing narratives across all sorts of platforms, and in this upcoming political season, I predict we’ll see them both prominently utilized.  The fear narrative tries to make us believe that there’s not enough of anything, that we’re not enough.  In HR terms, I’m intrigued by which people in charge believe that we’re all doing the best that we can in any given moment, while so many managers seem to believe we’re all just eating bon bons and goofing off if someone isn’t there to yell at us all the time.

Long time readers of this blog will know that I prefer the love narrative–we have enough, we are enough, we can expand the circle, we can include everyone.  As I was preparing my course shells, I went back to the ones I used during the spring, as the pandemic was overturning all sorts of plans.  I was struck by the tone of my announcements.  I gave everyone blanket amnesty–if you needed more time, no need to write and let me know, just do the best you can.

Kristin Berkey-Abbott, Questions as Old as Machiavelli

I’ve enjoyed working as a teaching assistant this week, much more than I was as a middle school teacher last year. I’m not sure if it’s the age group or being able to actually work one on one with kids a bit more rather than trying to speak to the masses. We’ll see how things go. I wish I knew what I want to be when I’m grown up. Substituting has been a good option to try things out though.

I’m struggling with motivation this week with my writing. I see so many writers being awarded this and that, publishers and art bodies offering opportunities I can’t take advantage of because of where I live, so I feel I’m just spinning my wheels, wondering why am I bothering. I’m sure it’s just a blip and I will get a burst of enthusiasm again. My writing group stayed up late chatting online last night and that helped. I’m happy to have their life line. 

It’s raining today after several really hot days. I need an indoor day just to relax, but I really want to get out to my allotment and start sorting it for winter. I can see hints of autumn everywhere, heard the ghostly calls the Barnacle Geese flying overhead last night through a dark, opened window. That sound always makes me want to run away myself, but since I can’t I want to prepare for what is coming. 

Gerry Stewart, End of Summer Slump

Meanwhile, this week brought me a lot of late-August beauty, birds, deer with fawns, the dahlias bursting into fantastic bloom, the last of the late roses. I even have a bouquet of late lavender by the bed. I’ve been slowly getting my mental energy back, and yesterday I had enough write a poem and send my book manuscripts to some new places (for me.) I’m really hoping to have a book taken soon so I can direct my energy in a positive way as the fall comes, and opportunities to be outside dwindle. It’s good to have something to worry about besides coronavirus death rates, the post office being threatened by our evil would-be dictator, my own struggle to overcome threats to my own body, my family back in Ohio, etc, etc. […]

One of the kind gifts sent to me this week was Anna Maria Hong’s new book from Tupelo Press, Fablesque. If you enjoy fairy-tale-twisted poetry, mythology, experimental poetry, prose poetry, and harrowing tales of fathers escaping North Korea, this book is for you. I very much enjoyed it, and as you can see, Sylvia cuddled up to it right away.

I tried a bit of This is How You Lose the Time War, a sci-fi novel my little brother recommended, and finished Joan Didion’s White Album, thinking about starting the Year of Magical Thinking next. I’ve also been continuing my re-read of AS Byatt’s Possession, particularly as I go to sleep. In the heat, in my fatigue, reading is a way to make my mind and body work together, pass the time while I heal, while I hide out. Not so different, really, than my reasons for reading as a young kid.

Jeannine Hall Gailey, Waiting for Fall to Arrive, Deer and Dahlias, a Week of Recovery and Reading, and a Giveaway

1988

Right before school starts, we spend a week at a cabin near Black River, with an amazing purple armoire tucked into the corner of a sleeping porch where I spend most of our time there popping jolly ranchers into my mouth and reading Sweet Valley High books in an effort to prepare for high school, which is this vast unexplored territory in front of me. Despite driving through fires on either side of the highway  on our way north earlier in the summer, this trip is rainy and cooler and our last before summer vacation ends.  High school turns out to be nothing like Sweet Valley High, but I adjust pretty well.  Later, I mine this summer of droughts and fires shameless for the poems in my first book.

1993

It’s my second year of college, but my very first at RC.  I’ve just successfully dyed my hair from blonde to dark red and wear things like broomstick skirts and tapestry vests (because, hey, it’s the 90’s.)  I love my classes that first semester and most after–Shakespeare, social psychology, philosophy. After long waits in registration lines, I spend most of my time on the patio outside the library, where they’ve set up long tables with metal folding chairs. I’ve no idea if they are intended to stay there, or if they are left up after an event, but that year, they are up through Thanksgiving break, and protected from sun and weather by an overhang, are where you would would find me studying between classes and eating vending machine snacks and carefully packed sandwiches from home. .  When it got cold, I moved inside to the library’s second floor and started scavenging books from the stacks, where you will find me for the next four years.

1998

This is the fall the tap comes on fully for poems, and most of the fall is spent writing the work that would land my first publications and form that first ill-conceived book manuscript. I’m starting my second year of grad school at DePaul and enrolled in a course on Modern British Poetry, which isn’t very modern at all, but very British, except for the weeks we spend on TS Eliot, faux British by way of Missouri  I become obsessed with Eliot’s recorded voice and soon, cannot read The Wasteland without hearing his voice in my head.  Later, at Columbia, a similar thing happens with Anne Sexton.   While I had read bits of it before as an undergrad,  this time The Wasteland loosens something in me that becomes a flood of poems that next year, and ultimately leads me to abandon any other plans–to teach, to continue Ph.D. studies, and just find some sort of day job and focus on the writing. Basically, I blame Eliot for everything. 

Kristy Bowen, snapshots | august

Although we’ve only been back a week and a half, the holiday seems a long time ago now. It was a great time for browsing and buying books as we started off by camping in Hay-on-Wye, ‘the world’s greatest book town’. Here I managed to pick up two haiku pamphlets/ magazines from 1980 and 2003, containing poems by writers I’m starting to become more familiar with. […]

As I love walking, another holiday read was Simon Armitage’s Walking Away. I’d had it a while and had been meaning to read it but just never found the time.

Hay-on-Wye is on the Offa’s Dyke path and there are a fair amount of walkers passing through. So, when I’d finished the book,  I did my bit for the book town by donating it to the book swap under the bridge, in the hope that some weary traveller might pick it up and get as much pleasure out of it as I did.

Whilst in Hay, I also bought Albert Camus’ The Plague.  I’d heard a dramatised version on Radio 4, recorded during lockdown, so I knew the main story, but reading it was so much more enriching. It’s a terrifying but redemptive story about an outbreak of plague in an Algerian coastal town, and life during the subsequent quarantine. The book reflected so much of what we have already been through, and are likely to continue to experience, putting human behaviour, both good and bad, right at the centre of the story (although mainly through male characters, I have to say, but that’s a minor quibble and no doubt reflects the time it was written). It might sound like a morbid read, but in the current situation, I found it oddly reassuring. It had the feeling of being important, of being necessary. That’s not always the case when you read a book. It made me question my own novel, and how ‘necessary’ it is. It remains as a second draft, which is to say there’s a fair amount of editing still required!

Julie Mellor, I love books …

Like many of you, I’ve been reading a lot more lately including some books that have languished in the procrastination pile. One goal has been to read and study one Shakespeare sonnet a day. They are too rich a diet to ingest more than that especially if one wants to understand them in their historical context and unpack Elizabethan usage. After reading a few, your ear will tune to the syntax. I urge you to read them aloud (all poetry should be read aloud!) and if you want to hear them in a lovely British accent, search for Sir Patrick Stewart’s (Picard of Star Trek fame) reading of each of them. […]

Here are the 4 commentaries that I used for studying each sonnet plus another intriguing book about Shakespeare being gay/bisexual and that author’s premise about the young man’s identity. It’s interesting to note that older commentaries are written by scholars whose work is based on the belief that WS is the absent narrator and the speaker in the sonnets is an unknown character created by the dramatist in a non-sequential collection of somewhat connected poems. Their posture seems rooted in an unwillingness to accept that WS was gay/bisexual or that the sonnets are autobiographical. More contemporary authors/scholars are accepting of both as reality—like more contemporary scholars understanding of Emily Dickinson’s sexuality.

Bonnie Larson Staiger, Pandemic Reading Project

Promises to keep. I’ve promised myself for months that I’ll write something about Jane Burn, a poet who unfailingly makes me sit up and pay attention, whose writing is full of turns and rhythms and moments that draw me in. For five and a half months I’ve been ‘shielded’, which is a euphemism for ‘under house arrest’. And I’ve been distracting myself with projects like ‘When all this is over’ and an abortive project which attracted precisely zero responses to an invitation to illustrate stories by my friend and collaborator, Andy Blackford. 

But inventive or analytic thinking has been beyond me quite. Concentrated, reflective reading, too. I decided I should systematically read the whole of Auden’s Collected Poems and see what I could learn…about technique, for instance. That lasted about a week, rather than the planned year. It’s hard to concentrate, especially when you’re distracted by frustrated rage at a country seized by the sleep of reason, and at the dreadful schism in the British nation.

Seeking for hook to hang the post on I went back, as I often do, to Tony Harrison. The school of eloquence, especially, and the extended sequence of sonnets that grew from it in Continuous. The theme that runs through them all, in one way or another is articulacy , the making of language and meaning which is ‘the tongue-tied’s fighting’.

John Foggin, My kind of poetry: Jane Burn and glossolalia

California is burning, Covid-19 proceeds unchecked, and twin hurricanes are headed to the Gulf of Mexico to hit land next week, so I chose this book for today, for the strange cheer and dark comedy of its title: Let’s All Die Happy, by Erin Adair-Hodges (University of Pittsburgh Press, 2017). I gasped when I opened the book and read its epigraph by Bruno Schulz, because I had just encountered him that morning while reading An Unnecessary Woman, by Rabih Alameddine! Alignments and coincidences keep happening. I’m sure I’ll tell you about more.

Well, here’s one: hurricanes. In her poem “Pilgrimage,” full of beauty I’ll let you discover when you get this book for yourself, I find “goodbyes distinctive / and precious as hurricanes.” Speaking of goodbyes, oh, “Seeing Ex-Boyfriends” has such an excellent ending, and here’s an excellent title for you: “A Murder of Librarians.” Plenty of disasters, including asteroids taking out the dinosaurs in “Natural History,” but plenty of joy, too, as when her little son is delighted by that! “His fingers turn claws as the film / starts again and we wait for his favorite part, / the hungry meat, in the sky a coming fire.” I needn’t mention the coincidence of fire. Sigh…but I did. And in “Rough Math,” “I…want your grief / to pour from your eyes like smoke…

But, “Let’s all die happy.” That’s the first line of another poem with a wonderful title, “Everybody in the Car / We Are Leaving without You,” which sounds like a familiar threat, and a real invitation. Here I particularly love the hooking up of the Mother and Father of American Poetry:

                                …Let’s set Whitman
     & Dickinson up on a date & watch
     as the awkwardness flames.

Aauggh, flames again! Here’s a tender coincidence instead. In a scene I read this morning in the novel, a music box is important in a mother-daughter relationship. It’s also part of the mother-daughter relationship in the poem “The Robin Tanka,” used as an aural image: “Her voice is a music box / grown tired of being turned.” My attentiveness to connection, alignment, and coincidence keeps happening, as does my commitment to this reading of a poetry book a day in August. It has felt like work, but work I love, schoolwork (and I loved school), homework, even, in a weird way, holy work. So, of course, in her poem “The Last Judgment,” I find the phrase, “His Holy Homework.” This work is getting me through, giving me joy, and I hope giving you some joy, too.

Kathleen Kirk, Let’s All Die Happy

During sleep, I have referred to you by many names: candle, nightswimmer, monkeyshine.

Your voice comes to me in many forms: crow song, dog howl, the transcendental hum of wheels on highway.

Bouquets of rubies and summer rains I leave at your door.

A divining rod I offer you to seek out the purest peace.

Should your angels ever turn to ashes, I will sweep them up for you.

Together, we’ll build a new faith from the ground up.

While the signature of our journey has yet to be completed,

our country of devotion is just an embrace away.

Rich Ferguson, When Sleep’s Terrorism Slips Away

Poetry Blog Digest 2020, 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. This week: remarkable and terrible things, tectonic shifts, a longing for freedom, changes in direction, fresh inklings, bodies in the world, dreaming of the dead, ecstatic surrender, remembering the future, restoring mental equilibrium, taking chances, defending imagination, forgetfulness and supplication, poetry vs. prose, and the toe comma. Among other things.


I am in a dark cave I can hear the whole wolf world howling at me but it’s muffled I am in the cave scrambling out because the tide is rising I have seen remarkable and terrible things this week

when I was at the beach an eagle flew down and plucked an oyster from the sand not three feet away from where I was standing his tail feathers spread he took his time with it in no hurry to fly off

this morning I sobbed watching John Lewis’s body travel over the Edmund Lewis Bridge in Selma Alabama in a cart pulled by two black horses a cart with red iron wheels driven by a stately Black man in a top hat the bridge covered in red rose petals Mr. Lewis’s family walked behind and near the end of the procession each member of his family was given a single long stemmed rose which they placed in a line on the bridge upon which the black horses walked I could hear people singing We Shall Overcome

this is a historic moment in our country’s dark time on a Sunday in which fires blaze in our cities a Sunday in which the president is a craven beast encouraging us to bring civil war our infected cities our infected farms our infected schools and hospitals our infected democracy a terrible dark time in this country

I saw a dead owl on the road this week his huge wing fanned out I watched three young boys carry a forth by the arms and legs down the street all of them laughing I watched a lame rabbit drag his broken leg behind him as he disappeared into the underbrush at the state park I walked past an eight year old boy tap dancing like Gene Kelly in the back of a truck with the tailgate open a look of pure concentration on his face

Rebecca Loudon, In deepest July

[photo]
Sunday socially distanced picnic in the park. Sure, I have a back yard. I love the back yard. But there’s something about being alone together in the company of big trees that nourishes as much as salami and cheese and olives and wine. Something about the young woman, so small, sitting before those trees that will stand long after we have fallen. All the words we didn’t exchange that I can read in the curve of her back. Or perhaps that I’m writing upon it.

[photo]
This dog. He is demanding almost constant contact with his humans. It is wearing on us, to be honest, but there are gifts here, too: forced rest, space to contemplate, time to prepare. Grace for the taking. Much of this experience of walking him to his end feels like a dress rehearsal for a play not yet written. Love is a verb.

[photo]
My girl, with her dog and her love. He is on the phone, half-way around the world, ten time zones away, sleeping with the bear she sent him. Every single thing in this photo cracks a different part of my heart, fissures that spread and branch and intersect. It will likely be years before I can write anything substantial about this summer’s tectonic shifts. Maybe I never will. Time is no longer infinite.

Rita Ott Ramstad, Postcards, late mid-July

I’ve just come back from camping in Hebden Bridge. Four days of walking. A bit of reading. Three haiku written. Happy days and cold nights, especially Sunday when the sky was clear. Having camped on the top of the hill, just off the Pennine Way, it felt like we were that bit nearer the sky than anywhere else in the county. Fantastic.

Walking, even if you’re only out for the day, makes you very conscious of weight and what you can comfortably carry. Poetry pamphlets are ideal walking companions. Slim, lightweight, easy to dip in and out of. I was happy to take When All This Is Over (Calder Valley Press) with me, as it arrived last week. Put together by John Foggin and Bob Horne, with editorial input from Kim Moore, this pamphlet is the result of a project that started in lockdown, where John put out a call for poems responding to Eiléan Ní Chuilleanáin’s poem ‘Swineherd’. Three months on, here we have a pamphlet that reflects that response, not just to the poem ‘Swineherd’, but to that peculiar time.

It was interesting to be reading these poems whilst out walking, as so many were about a longing for freedom, a desire to hit the open road and get away from it all. ‘I’ll become a nomad and travel/ where everyone goes wild about birdsong‘.

Julie Mellor, When All This Is Over

I’ve been reading even more poetry than usual over the last few months (and there is a lot of poetry out there to read). A lot of it has been by poets totally new to me. I’ve been surprised at times by what I’ve liked – and by how different from each other the poems are that I’ve liked. I’ve also been surprised that I haven’t liked some poetry that has had very enticing reviews, and yes, I know, different people like different things. I use ‘like’ here to cover a multitude of  positive responses – poetry can move you in so many different ways, and sometimes it just doesn’t work for you right now. It’s great, though, to see the diversity of poetry out there, and it’s also great to see how well the poetry presses have responded to the current crisis.

I’ve also realised that my own poetry has recently changed direction – and style. Well, hopefully it’s been developing before that, but now it feels different. I know that for quite some time I have wanted some particular poems I have written to be published as a pamphlet/collection. Some of them have been published/accepted in magazines, for which I am very grateful, and have also been online, but it seemed to mean a lot to me that they got published together. At the moment I don’t think that’s going to happen. I have made changes to some of them (though I’m not sure I should have), and mixed them in with newer ones that have been published/accepted separately, but maybe they are a thing of the past and should stay there. Maybe they were just not good enough overall or didn’t work together. There’s a lot of competition out there and other factors involved too, and yes, different people like different things. Whatever the case is, they had their purpose, and they’re still there for me, and for the people to whom they would mean the most, who have already seen them anyway.

Those poems were largely about remembering, trying to understand, to explain, maybe. They were very autobiographical, personal. I don’t think you can actually ever get away from that entirely, or indeed whether you should entirely – we write from who we are after all, but I notice my more recent work is more outward-looking. I’m not sure if that was a conscious decision, or has been influenced by what I’ve read, or whether that’s just where I am at the moment. Maybe it should have happened sooner. It wasn’t that I didn’t look outwards before, it’s just that I wasn’t sure how to respond. Certainly the current situation is one where change is a part of daily life and it would be hard not to respond to that somehow. My earlier poems drew very much on the natural world, particularly birds, and I don’t think that will disappear, but maybe now it will be from a different angle.

Sue Ibrahim, Poetry and me at the moment

It felt surreal to post writing like this at this moment. My summers are normally reserved for poetry, but now I’m finding that a lot of my July writing time is being allocated to other writing endeavors – mostly response to school opening plans and to various entities: admin, union, board. The writing of poetry is much more engaging than prose. Maybe I’ll start writing my responses to school openings in limerick form. Wouldn’t that be something?

Kersten Christianson, October Hill Magazine

The point is that this week has been the first week since the start of lockdown when I’ve been able to take a foot off the gas. Work has been quieter as a few projects are off and doing their thing for a bit before I need to tune back into them and thanks to a sore left knee I’ve not been running so much. This, and the fact I have massively reduced the to be reviewed list means that I’ve had the chance to do some of my own writing for the first time in about a month and a half. I know it’s not important in any scheme of things (whatever scale of grandness you choose to use), but it does feel good to be back at it.

And the drafts have happened. Some of this is more fully-fledged ideas gathering pace as they get closer to finished, but shockingly, there are two whole new poems being worked on this week. Both are ideas that have percolated for a while (a year or more), but given the paucity of work recently this is a flood. If I add that to the notes I’ve rescued from my email drafts and notes apps then I am a happy man. I like it. It’s almost productive.

Although, not as productive as my daughter. Two days ago she started mapping out her first novel in a series. It seems to have a vampire and witch theme—oddly, she’s been watching a lot of vampire and witch-based stuff on TV, but who cares about the theme; I’m just waiting to be able to retire off the back of the proceeds.

Mat Riches, Mangoes on a walk

Last night, first time I heard the tree crickets’ din blossoming in darkness; cicadas’ daytime clatter began last week, and the lantern fly nymphs are in their last stage before morphing into winged tree-pests. The heat’s oppressive, which seems to suit the general mood. I have not been writing poems, but this morning wakened early to surrounding birdsong and felt a moment of beauty amidst the tension.

As usual, my garden has offered respite. I harvest beans in evening’s humid warmth, pulling pods from the resilient stems. I marvel at the squash blossoms–bright bells amid enormous green leaves–and gather cucumbers and zucchini, and wait for tomatoes to ripen as I tie up the vines heavy with green globes. The scent of lemon basil pervades dusk as the last fireflies start to wink. Yes, there are disappointments and bugs and there will be yet more weeding and work. It is, however, labor of the body for the nurture of the body. A body in the world.

Ann E. Michael, Respite, refuge

Scratch the surface and there is much to be worried out.  The virus burning through the southern states who still won’t take it seriously, despite packed hospitals and mounting death tolls.  An uptick in Chicago cases. The scary things our government does and hides (sometimes in plain sight) or just tries to pretend isn’t happening.  I read an article earlier today on “doomscrolling” and indeed, I am perpetually guilty of it.   There were a couple days last week that just got really busy in terms of work and focusing on other things and i realized I was feeling mentally better. Now, I realize I wasn’t looking at the news so much over those couple days.  Over the weekend, I got really excited and engaged in playing with video again and realized almost a whole day had passed without me doing the doomscroll.  I’m feeling a tension between wanting (needing) to know what’s going on and knowing too much and at length.  Particularly when it comes to things, like the virus, I can’t really control on a national scale. I’m having a hard time figuring out how much is too much. 

Kristy Bowen, doomscrolling 2020

You awaken each day to a feeling of sadness, a dull emptiness. Morning does not come to the dead of COVID-19. Nights come and go, and you are, in time, full of these forgotten dreams, forgotten names, and everyday the number of COVID-19 deaths grows. And friend, night does not come to the dead of COVID-19.

James Lee Jobe, The dead of COVID19 visit you in dreams

What I don’t know is most everything outside my door.

Those secrets sound like crow song in their more mystical moments.

In their more nightmarish—like an ongoing car alarm, my sonic and savage umbilical cord connected to a ripped-off world.

The word quarantine comes from the Italian quaranta giorni, literally a space of forty days where plague-ridden ships were kept from shore to assure no latent cases were aboard.

In this isolated room, all I know for sure is that I have trouble sleeping at night.

That is why I’m apologizing for anything I may have said that doesn’t make sense.

Then again, I may have already said that without having said it.

Rich Ferguson, Waking the Dead

We need to do more than just live through this time. Could we not live while in it? Should we not learn something about ecstatic surrender?

These are not new thoughts or observations. Hey, I’ve been singing the Sheryl Crow song loudly in my car for a very long time now. “If it makes you happy then why the hell are you so sad?”

It’s always been a ride, this negotiating between happy and sad. Even the kids are onto it.

“And I’m the kind of person who starts getting kinda nervous
When I’m having the time of my life

Is there a word for the way that I’m feeling tonight?
Happy and sad at the same time”

– Kacey Musgraves

Is there a word for it? Shakespearean? Ridiculous? I don’t know, but I do know that if you seek out pockets of happiness, you’ll be better able to weather the other registers, the inevitable truths of the less pleasant and trickier spheres.

Shawna Lemay, We Live in the Multiple Registers

People keep describing these past months as “unprecedented”.

Seriously?

We measure reality in such small packages – our small collections of private experiences. Twenty years slip by, maybe another twenty… and from this tiny window we proclaim a a sum understanding of the human experience to determine the proper trajectory for (the organisation of) human behavior.

We don’t even glance sideways.
And if we do, we dismiss it: We are the future, after all.

Ren Powell, An Anti-Climatic Sense of History

Pygmy woodpecker, olive-backed
sunbird, dusty-headed bulbul; tree
sparrows that we call maya—I pack
mung beans into plastic pouches,
lentils into jars. I wonder about
places where other selves might fold
over and over, like happiness
afraid to show itself. The future
is most recently a dream of hammocks
floating into the sea.

Luisa A. Igloria, Dealing or Not Dealing Well with Sadness

One of the many things I hate about this new corona virus is how wide the symptom list is, and how they’re all items that could be something else: runny nose, headache, cough, muscle aches. It’s not like Ebola, when cell walls collapse and victims bleed out of orifices that aren’t usually bleeding–that’s a clear sign.

I’ve had a headache off and on all week. It could be stress, or it could be changing barometric pressure, with a tropical system nearby (another source of stress). I’ve had parts of the day where I go between sweaty hot and chilly–but no fever. Is that a tightness in my chest or just uncomfortable underclothing? Does the tingle in my throat signify a cough coming on or dehydration in the height of summer?

I even thought about going to get tested, just to put all my speculation to rest. But a test for COVID-19 would only tell me that I was negative or positive today–if I got the right test results. And how long would it take to get the results? By then, I could have been exposed many more times.

For those of us who have been out and about in public, or in offices, I’m not writing anything we haven’t all been experiencing and/or wondering about. But it seems important to capture these ideas.

Tomorrow I will stay closer to home and do some baking with my sourdough starter. Perhaps I can restore some mental equilibrium that way.

And if not, at least I’ll have delicious bread!

Kristin Berkey-Abbott, Anxiety Dreams/Anxiety Reality

A little earlier in the year, despite my hatred of applying for grants, I applied for one I’d never seen before: the Allied Arts Foundation. Early this week I received an e-mail that I thought was a rejection, but was actually telling me I was an “Honorable Mention” and would receive a grant that will probably pay for at least ten manuscript submissions. I was very happy to see my friend Jenifer Lawrence (who was in a poetry workshop with me for a dozen years) right next to mine. So the lesson is: even if you feel you are very bad at grants, take a chance. You never know! Any money for poets during the coronavirus is a good thing.

Jeannine Hall Gailey, A Little Good News, Fun Swag from Texas A&M’s Library, and Another Little Video Reading

One of the very first times I read a poem at a literary festival, the woman who was compering the event stood up at the lectern after I had read and asked what my mother thought about being cast in one of my poems as rather drunk and rather mad. The poem in question was ‘Spinning Plates’ with its opening line ‘My mother was mad as mercury…’. The idea of the event was that this person would quiz the poet about their poem and they would then get a chance to respond. So I stood up and said ‘My mother doesn’t read much poetry but I credit her with the intelligence of knowing that a character in a poem is not necessarily a real-life person’.

Perhaps my answer was a little too barbed and snitty, but it is one of those fundamental issues in poetry that gets my hackles up, rather like being asked the question ‘Are you still writing poetry?’

Richie McCaffery, The Invasion of the Poetry Body-snatchers

the old poet‬
‪reading his words asks‬
‪who wrote this‬

Jim Young [no title]

I lament my own forgetfulness which pains me at every opportunity. Arriving in the cellar only to cloud over on my purpose, in fact to fill with fog and begin to drizzle.

I lament awaking to the deluded messages of an disastrous leader whose ramblings should be isolated like a virus and prevented from spreading. Ruin. All ruin.

Also, the horse lodged in the pipes behind the bedroom wall has broken loose again, galloping through distant waterfalls of plumbing.

I am plagued by artists unable to wander beyond the beauty of 20-something women. This is not imagination, but a lack of it.

I curse the moths who have made a meal of one of my last remaining sweaters. On first inspection it appeared whole, but when I slipped my arms into the sleeves, there they were — the ragged injuries.

I lament the plastic toys the neighbors have piled high beside our common fence. I lament the fence! I lament the squalor.

I have planted a tree. I have upgraded my prayer to supplication.

Sarah J. Sloat, I appear briefly on the balcony to curse the meadow

1. That movement in the brush, the chance reflection in a pane of glass, that blue comb you found on a gravel path, the person your peripheral vision almost caught—these are the spermatozoa of poems. All they lack are the reactions of the egg in the womb of consciousness.

2. Like the smell that precedes rainfall, the “scent” of an imminent poem will make itself known to a poet. What the poet does with it will almost never live up to what was offered initially, but that is true in the realization of nearly all ideals.

3. The essential difference between poetry and prose has never been adequately defined, aside from offhand attempts. Perhaps it has to do with the differing intensity of desperation felt by each category of writers. The poet feels the need to gather the final issue of smoke from a doused candle wick before it dies out; while the writer of prose has the topic fixed in a virtual or real outline, and therefore has the leisure to write on until it is adequately explored.

10 Thoughts on Poetry – guest blog post by John Brugaletta [Trish Hopkinson’s blog]

The good
poem bends

the poet
to its

needs.
The good

poet bends.

Tom Montag, The Good

Sadly, the rub of any vacation is that it comes to an end. We return to “real life.” For an anxious person like me, even just a whiff of it causes panic. And that’s where I was Thursday. The going “back to normal” thoughts were bearing down on me, and so I vented to my partner and stomped around as I tidied up the room. In doing so, I caught the pinky toe of my left foot on the leg of a chair and definitely broke it. I launched a few f-bombs, began to cry and went straight to the shower to get it out of my system before dinner.

The toe turned purple and puffy almost immediately. We treated it with ice and ibuprofen and margaritas. I wasn’t sure how much damage I’d done (or how many toes were involved), though, until the next day when the toe was an even darker shade of purple. Somehow, it wasn’t as sore. And I could tell it was just the one toe. Nothing to do but wait for it to heal.

And I have to be honest: it felt good to cry. We push through so much, even pandemics apparently. Stiff upper lip. Broad shoulders. Big girl pants. We hold it all in ’til we can’t anymore. The toe was my “can’t anymore.” In fact, except that it’s shaped more like a comma, I’d call my broken toe the exclamation point at the end of “CAN’T ANYMORE!”

But maybe a comma is better anyway as I reason my way gently through how to take better care of my writing life. Instead of throwing my hands up in despair with the exclamation, the toe comma asks for something to come next. It not only invites something to come next: it requires it.

And so something comes next.

Carolee Bennett, i’ll give you something to cry about, the broken toe edition

Poetry Blog Digest 2020, Week 28

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.

A bit of a quiet week, in which bloggers asked: Have you tried something new in lockdown? Should one be an ant now? And did you know there was a patron saint of pandemics, St. Corona? “I weave for myself / a hammock of my unanswered questions,” Ann E. Michael declared.

One thing that surprised and delighted me, as publisher of the Moving Poems website, was reading three different bloggers’ adventures with making poetry videos. Among other mysteriously shared wavelengths...


On horseback
     in the Green Mountains one minute,
waiting for COVID in nursing home
     the next. I have it already,
of course, from scraps;  months
     of panicked combat for air,
so I can’t see her. She’s—vanished.
     There are so many things
one should not have to fight for.
     Every organ system inflamed,
I become oatstraw. Vicodin. Ginger.
     A liquid diet. Somehow vertical,
somehow  48,when the pain
     is very bad I still want
to call my mother. We did try hard,
     and fixed that much:
I could call her, if I was scared.
     The vixen emerges from night grass
three feet away, fixes tapetum on mine.
     Pure sensual grace
and home, that wild. What is it, beauty,
     I say, meaning both
we must help each other
     and such compelling danger,
the illusion of safety.

     She never answers.
Grey foxes: feline software in canine hardware,
     someone says on Twitter.
They are the only canid with retractable claws,
     I have learned. When they need to
they can climb trees like cats.

JJS, Vulpine

I wonder if Ennio Morricone ever replaced a washer, or tightened the grub screw on a bath tap? I am thinking this as I listen to his composition, ‘Gabriel’s Oboe’. Morricone died this week, as one day I will, and I didn’t know till now that he was an avant-garde classical composer: that he regarded these seldom-heard works as his important ones.

This existential mood of mine is driven by sleep-deprivation and by the fact that my hot bath tap is broken. The mixer taps are new, so not strictly broken, but loose. But it might as well be broken as no water comes out. […]

Sitting there, on the roof, as dawn brought the day into focus, I thought about the avant-garde part of my life – not my main occupation, not the lecturing job for which I am infamous to several hundred social work students past and present, but the part of me that I want to fulfill as much as possible before I die: the poetry part. The words that swim through my head, that arrange themselves on the page. I thought about the way that the main stuff squeezes this less-known part until it squeaks, needs attention, needs to lie in the bath because there is no chance of swimming pools opening any time soon, and I need my body to be weightless from time to time.

Liz Lefroy, I Worry About Plumbing

Rob Taylor: “These are the days of not writing… Nothing’s missing. What’s not here?” feels like a good summary, for many, of our current COVID-19 moment. A major theme in Pineapple Express is isolation (in “Disturbances” you write “For months you haven’t seen your neighbours,” which also strikes home right now). A common joke these days is that self-isolation is something poets have been training for their whole lives. Could you talk a little about the knife-edge of isolation for writers — that need for solitude in order to be able to write, and the negative consequences that can come with it? Do you have any advice for people — writers or otherwise — in this time of externally-imposed isolation?

Evelyn Lau: Solitude is bliss for introverts, and most poets would agree that they crave time, space and isolation in order to write and think. I’ve lived alone since I was sixteen, and the challenges inherent in that have always been practical — i.e. financial — rather than emotional. My partner and I have been together for two decades, but we’ve never lived under the same roof. What some people would find painful — coming home to an empty apartment — is the greatest source of solace for me. Is that strange? It feels so essential that anything else is unimaginable. The easy explanation is to say that I need solitude to write, but really it’s just to stay sane.

The danger is that isolation leads to rumination, which can lead to depression. Those of us who need very little social interaction to feel fulfilled definitely have an advantage over the extroverts right now. My advice isn’t original: establish a structure to the day, get out of your head by getting into your body (exercise), find beauty and wonder in small things.

Rob: Yes, yes, excellent advice (the good advice doesn’t always have to be novel — it usually isn’t)!

Speaking of changes brought on by COVID-19, you’ve traditionally avoided work on computers (I seem to recall that you didn’t have an email address until you took on the role of Vancouver poet laureate in 2011, a position which required one). Could you talk about that choice to stay “offline” as much as possible? How are you finding life now that you’re forced to use the internet for work, etc? Is it affecting your capacity to write?

Evelyn: AARGGH! Right now I’m sprawled on the floor outside my building lounge, using my partner’s laptop to pick up on the WiFi signal. This pandemic has yanked me into the 21st century!

Normally I maintain a distraction-free zone by not having WiFi or a modern computer at home, and not having a cellphone. It might be odd to hear this from a writer, but writing doesn’t come “naturally” — it’s often very painstaking, and so much time and creative effort are wasted in email correspondence.

Rob Taylor, The Monastery of Poetry: An Interview with Evelyn Lau

He says the microwave is talking to him.
What’s she saying, Henry? She says,
“Noli me tangere. The last person
may have been exposed.” She says
it’s time to work from home.

Ellen Roberts Young, Another Minor Poem for this Time

So many invisible things that I rely on:
gravity, oxygen, radio waves, the workings
of my mind, of your mind, awareness.
Though sometimes one materialises
in front of me when I least expect it:
the woman who stepped onto the grass
so I could run past safely. Thank you.

Lynne Rees, Poem: Invisible

Maybe tomorrow, no oranges, no flour,
no disinfectant soap. We live without guarantees
despite the product labels’ promises.
This year the pear tree bears no fruit:
few bees? late frost? Does it want a reason?
Yet I quiver with my need to know.
Knowing, old as I am, uncertainty means change.
Comfort? That requires a trust not at odds
with what’s ambiguous. I weave for myself
a hammock of my unanswered questions,
settle into it, become seed pod, chrysalis, womb.
I place my trust in change.

Ann E. Michael, Uncertainties

When it comes to preparing for the future, I have always been more ant than grasshopper. That has, in many ways, served me well, but being the ant requires knowing your geography, your climate, and your resources. It means knowing what you’ll need to survive the winter and how to preserve and store what feeds you.

After becoming a teacher, I learned quickly how important it is to use the summer to prepare for the coming school year. I learned how to store up what I needed to be OK (or OK enough) to get myself to the following June. For the first time ever, I don’t.

How does one be an ant now? Should one be an ant now?

I have long wondered why I’ve so needed the summers to recover and prepare, why working in public education has been so taxing for me and many of my colleagues. Sure, the hours are long, but many people work long hours. We don’t have the resources we need, but many people struggle with resource scarcity in their work. Over the past month or so, the debates about policing and school re-opening have illuminated for me something I couldn’t see from within our system (as is so often the case when we are trying really hard to be OK in untenable situations): The struggle comes not so much from the hours or the lack of supplies and tools; it’s from the weight of all that schools have come to carry, which includes not just educating everyone (a heavy enough bundle in itself), but also providing healthcare, social services, meals, and child care. Now, some would have us believe that the very functioning of the entire economy rests upon us.

I see that, perhaps, part of the reason my summer preparations haven’t really been getting the job done in recent years is that I haven’t really understood the landscape in which I’ve been trying to live.

As I think about how to be an ant now, I understand it’s not so much that the geography around me has changed as it is that I’m seeing it from a different vantage point. It’s like I’m suddenly viewing it from miles above, perhaps looking down through the window of a plane. Of course I’ve been aware of shifting plates, erupting volcanoes, rivers that have changed course and jumped their previous banks. Now, however, I can see the totality of those singular impacts, and how those of us working in country have been so consumed with responding to the seemingly small (yet never-ending) immediate crises of opening cracks and raining ash and flash floods that many of us failed to comprehend the bigger emerging picture. Now that I can see the landscape whole, I find myself lost. The topography doesn’t match any of my maps.

Rita Ott Ramstad, Of ants, grasshoppers, maps, and being lost

I feel particularly stuck right now because I don’t have the release of travel, of periodic escape to remind myself there’s a bigger world. I’m reading a lot but mostly books about small towns, too: Stephen King’s sin-haunted Maine villages (my stay in Salem’s Lot was unpleasant for a variety of reasons); plague-ridden Derbyshire mining country in Geraldine Brooks’ Year of Wonders (I loved that one); a prissy Ohio suburb in Celeste Ng’s justly-celebrated Little Fires Everywhere; the island horrors of Emily St. John Mandel’s The Glass Hotel and Lucy Foley’s The Guest List. Is that because I’ve been on a mystery-thriller kick, trying desperately to get out my own head? Do those plots work best in little bubbles? This spring, able to concentrate only in short spurts, my reading was mostly poetry that felt quite different, conjuring cosmopolitan places or a sense of global connectedness, as 21st-century poetry tends to.

The brand-new poetry collection I just finished, though, is local without ever being small–and illuminates Kiki Petrosino’s relation to a place she can neither love nor leave behind. In White Blood: A Lyric of Virginia, three long poems are based on the results of a DNA ancestry test; one section, titled “Albemarle,” eviscerates Jefferson’s celebrators in breathtaking ways; and another sequence locates itself in Louisa County, where some of Petrosino’s ancestors resided. Petrosino herself seems to have departed the region after earning a B.A. at the University of Virginia, and is now back as a professor there, drinking tiny glasses of bourbon at gastropubs while researching and receiving dream-messages from her dead kin. As Terrance Hayes writes, this book is “wonderfully irreducible” to tweets and slogans, plus so honed and gorgeous that it reminds me that poetry has special ways of helping people struggle with intractable problems; I think it will strike others that way, too, and be on short-lists for many prizes. I’m on sabbatical for a while but I’d love to teach it one day, in whatever still-messed-up America we land in a year from now.

Lesley Wheeler, “I live in language on land they left”

What’s in the poem: How my fascination with ghazals and my fascination with South Texas Spanglish work together. How my co-worker Ramon had a clouded eye.

What’s left out: How Ramon’s clouded eye wasn’t glass because taking it out would have caused more overall damage. How Ramon’s thumbs were permanently purple from hammering and missing and hitting his hand. How when we worked side by side at Billy Pugh co. making equipment for oil rigs I felt both honored and intimidated. How the more I wrote into this poem the more I left Ramon’s voice behind. How the biggest breakthrough in writing the poem was having this meta-Ramon ask the question “You have nothing else?” then declare flat out “You have nothing else.” How this meta-Ramon is really me still guilty years later worried I don’t do enough on the page or in my life to honor the people who have helped me survive. How this species of interrogation is never done with, because it is how I honor those who have helped me survive.

José Angel Araguz, new essay published: excerpt

Loosely, I think that I will be done writing this kind of grief poem in November, to mark the year of having lost her, though of course I’d never hold myself to a deadline like that. I think that is naturally where it will fall, and then poems about other things will begin to surface more often.

Like I said previously, this book is a lament. It is wailing on the front yard with my head shaved and ashes smeared on my face. You can’t rush that sort of thing.

Renee Emerson, The BabyWritingMoon Retreat

Let us name them
and if not, then

their play places:
Atlanta; Avon, Indiana;
Chicago; Columbia,
Missouri; Galivants
Ferry, South Carolina;

Hoover, Alabama;
Philadelphia;
San Francisco
Washington, D.C.

Lives taken now
noted, new numbers
added to archives
to help us remember

they died by gun
on our July 4 weekend

their fatal celebration
lost among the sounds
of bursting rockets

the sparklers held
in their tight little fists
raised against the red glare

Maureen Doallas, Fatal Celebration (July 3-5)

liars are in charge of the truth
lurking in the garden at night
an elephant hawk-moth

Ama Bolton, ABCD July 2020

This book is fierce! It’s a reading that dwells on the living through endings and upon closer examination, some beginnings, as well. Skaja’s word choice is superb, fresh, wild. From “How to Mend a Faucet Dripping Thread”

Every morning, a spider webs over my door, but I don’t do omens.

I will not hang all the maids, for example; it’s antifeminist.

But I will lie here with my face annexing the floor. Penelope, neat.

Pouring out a little whiskey for the sirens & swine.

Did I mention my love for the hat tip to older, timeless stories?

Kersten Christianson, Brute, Emily Skaja

on to the coarse fish perch and pike
on the tennant canal in the giant reeds
near the dock piers where the sea fish flow
pouting blin and whiting and flatties
from the west pier where the night rats run
under the moon stones at full tide
down along the dock lights shivering
with a fist of rag worm
well wrapped in sand and cloth
i’ve caught them all in my time

Jim Young, and ran – i did

I had a run of luck with poetry competitions a few years back. I thought, for a while, it might be possible to give up the day job and make a living out of writing. However, I started to notice that the quality of my work was suffering. Subliminally, I think I was trying to write the ‘prizewinning poem’ (whatever that is), rather than being true to myself and my work. After that, I spent a lot of time experimenting, producing work that only appealed to the very fringes of the poetry scene, the avant-garde if you like. I had work taken by the likes of Streetcake and 3 am magazine, online journals that take risks, that are constantly seeking to challenge our notions of what poetry is and what it can do or be.  Since then, I’ve never thought about payment. I write to satisfy my creative impulse, and to somehow translate my experience of the world into art. Payment is wonderful when it happens, but I never expect it. Writing for money doesn’t motivate me, because writing gives a sort of value to my time that can’t be quantified in monetary terms. I gain a great deal of satisfaction from that – in the areas I’m working in, writing can’t be ‘bought’.

I am influenced. I create. I edit. I send work out (in every sense I submit). For me, the process has its own rewards. I hope at least some of you feel the same.

Julie Mellor, Mr Sheen

I’m working on one of my poems-that-start-as-long-blathers. I started it some weeks ago, let it sit, worked on it, let it sit. Now when I go back I am confused about what I thought I was up to.

Some of that confusion is the lack of logic in the poem’s thinking. But I’m finding as I’m clarifying that, I’m losing something. I’m making changes based on logic, but I’m losing something that was special and beyond logic. I’m finding I need to go back to the self who first blathered and ask what? what?

Unfortunately, that self is gone with the passage of time, and this other, confused self must sit with it all.

It’s interesting, as a process. A tad annoying as well. I was sure I was onto something back then. Now I can’t remember what.

I have found in my work as a copyeditor and my brief stint teaching a course that not-great writing comes out of not-great thinking. The authors and students who couldn’t quite think through something couldn’t write through it either. That being said, overthinking can kill a piece of writing as surely as underthinking.

Marilyn McCabe, Like breathing in and breathing out; or, On Poetic Clarity

Lately, I confess, my crankiness has diminished my capacity for giving everyone the benefit of the doubt.

Let me be gracious to myself. Let me remember all that I am getting done, in this time that no one prepared me for in terms of schooling and training. I need to repeat this mantra at work especially.

In terms of my creative life, let me also be gentle with myself. While I’m not writing traditional poems, the way I once did, I am doing interesting work, especially with the intersection of poetry, parable, and theology–in a video format, which is new for me and exciting. While my novel languishes, I do think about it here and there.

I know that in the past I’ve had times when I’m not putting words on paper, a creative burst is just up ahead, if I don’t give up, if I’m patient with myself.

Kristin Berkey-Abbott, Making Good Progress–a Brief Progress Report

In between the other stuff, I’m taking a free online course at FutureLearn called Explore Animation.  During the lockdown, I started experimenting with my phone, making collages and a poetry film and I’m curious to learn basic animation to see if I can extend my skills and perhaps combine poetry and storytelling with animation.  I am completely out of my comfort zone with both my drawing skills and my tech skills but it’s kind of interesting and fun.

I’m not the only person who’s been looking into new ways of working recently. In the lockdown, poet Hilaire worked in collaboration with artist Stephen J Graham observing what she saw from her second-floor window in Battersea, London.  They live only a  few streets from each other but a world apart during lockdown when they communicated via text in order to compile a series of poems and illustrations which they’ve made into an A5 book called Indoors Looking Out: A Creative Exchange in Constrained Circumstances which I absolutely love. Hilaire has written about their collaboration in this blog post.

Have you tried something new recently or during lockdown?

Josephine Corcoran, Not just poems

Yesterday, as I played with the film editing software and finished the book trailer for the new book, I realized how much I enjoyed it–almost a more motion-oriented collage, so I will definitely be creating more–if not trailers, then little poem videos involving public domain films, that are really fun to cut up and splice. I even made a sort of preliminary home for them on Youtube, so watch for those. I also plan on making some exclusive content for Paper Boat subscribers over the next few months. (so join in on the fun here…it’s free and I promise to only bother your inbox once a month)  With a little video experience I am a little closer to my dream of one day animating paper collages, so here’s hoping. 

During quarantine and its aftermath (however temporary or permanent that may be), visual work has been what has suffered most. Perhaps because, maybe even more than writing, creating it seems comparatively frivolous in the world.  Or maybe just that what I seem to create is frivolous in the world.  While writing was spurred on by the capitalist concerns of The Shining project and now the timely concerns of bloom, less so the collages and landscape/botanical paintings that usually fill my arsenal. While I did manage that batch of watercolor landscapes, as well some acrylics for my kitchen, the only thing that seemed at all related to the world outside was my silly crypto posters.

Kristy Bowen, poetry films, art, & artivism

I haven’t exactly gone dry when it comes to poetry, but I did stop posting a poem a day on a little chalkboard in June. As the poem states, I was “out of chalk” from the start, writing with little stubs I found in the kids’ art supply boxes and kept in the lid of a jar.

Just the other day, my husband found in the garage a bucket full of colored sidewalk chalk that I’d been looking for in the basement. So there’s that for the next public art project that might arise from the ongoing circumstances. And I ordered and received a little box of slim white chalkboard chalk for the next round of daily poems, possibly in September. For now, I’m writing in my various journals, intermittently.

As I’ve been writing here, I’ve been hearing thunder! And, look, it’s raining out my window! …And now I’ve come back from stepping outside to smell the rain, the needed rain, the gentle rain. It’s falling on my prairie flowers, my single tomato plant, my little pots of hibiscus tea, my gradual attempts at a very local permaculture. I forgot to plant a little packet of California poppy seeds, but I have plans for it. I have more to tell you, but not right now.

Kathleen Kirk, My Dry July

While under the weather for a day or two this week with a stomach bug, I finally sat down and read the whole novel from Lesley Wheeler, Unbecoming, about an out-of-sorts academic woman who loses a best friend, suspects her replacement of being a malevolent faerie, and suspects herself of starting to wield strange powers,while dealing with a fractious dean and truculent teens. It had hints of faerie and kitsune mythology, and also talked about how women gain magic powers with age. It really was a page-turner! I recommend it. It was also a good read while I weathered – besides the stomach bug – a couple of regular rejections, a couple of finalist notices for my book manuscript (and one “close but no”), well, what still felt like a lot of no from the universe. I also think about using magic to protect us from coronavirus. Protection spells often involve the moon. Did you know there was a patron saint of pandemics, St. Corona? Look it up!

At 47, I’m only a few years away from fifty now, the magical age of menopause or invisibility, when we move from lost girl in the forest to wicked witch. Wouldn’t it be nice if I could acquire magic powers though? Anyone want to grant me three wishes? I would even take one!

Jeannine Hall Gailey, Anniversaries, Rose Moon Eclipses, New Moons and New Life, and Reading Report on Women, Magic, and Menopause

It takes some time to learn to live with death. It doesn’t happen overnight. Death can be a horrible neighbor, a demanding housemate. Death moves into your house and never leaves again. Three years have passed since my son left this life and death moved in with us. To stay. This house is still a home, true, but it seems a little darker now, even though I can still hear the echo of my son’s huge laugh. 

James Lee Jobe, It takes some time to learn to live with death.

One finally
comes to

accept
the silence

before, after,
between

the words, the
stanzas,

the poems.
This is when

you begin
to understand.

Tom Montag, ONE FINALLY

A saucerful of warmed coconut oil, green
eucalyptus leaves steeped in bath water:

threshold you have to pass, stepping out
of the country of illness and back into

the ordinary world. Before that, the looped,
confusing paths of fever delirium. Hours

during which the parched throat can only
utter the sounds of one terrible syllable.

Luisa A. Igloria, Resurgence

Society’s unseen still make a sound—

at times, it’s a finespun hum, soft as a child’s made-up song about flower buds and pebbles resembling insect pillows.

Other times, the sound of the unseen is more like silence with its sobriety chip of sunlight, sweating out the hours until it falls off the wagon into another evening of sirens and explosions.

Rich Ferguson, Sounds of the Unseen

Poetry Blog Digest 2020, Week 27

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. This week, poets had trouble sleeping and trouble waking up, trouble celebrating and trouble mourning, trouble writing and trouble not writing, while all around us flowers unfurled and swelled into fruit.


I’m writing this post while sitting on a bench by the side of the canal in Bradford-on-Avon.  I’m writing in a small sparkly notebook and I’ll type up these notes later when I return home.  It’s nearly 3pm on Friday, 3rd July, 2020.  I left home just after 2pm to catch the train here, just one stop from where I live.  The journey took six minutes.  It was the first time I’ve used public transport since the lockdown started in March.  I wore a face mask and I sanitised my hands with gel once I’d got off at my stop.  These are items that I always carry now, in the small rucksack bag I wear on my back.  Most other passengers were also wearing masks, but not everyone.  My carriage was about one third full.  I bought my ticket from the machine at the start of my journey using contactless payment – I tried to book online using my phone but those tickets were unavailable on my app.  There were no staff on board the train checking tickets or face mask-wearing.

Today I feel I’m rejoining the world again, in my own way.  Using public transport is important to me although I realise it’s riskier than driving a car, in terms of being exposed to Covid-19 and other germs.  But I’d started to make a concerted effort to reduce my carbon footprint before lockdown, and I want to return to that lifestyle.  I also felt an urge to get out of the house and to be alone.

My household’s lockdown began with all four of us watching The Tiger King on Netflix.  It’s coming to an end with each of us involved with a BBC iPlayer series I May Destroy You: Andrew and I watching together on the telly in the front room; our daughter watching in her own time somewhere in the house on her laptop; our son not yet watching but listening in to conversations about the series when we meet in our kitchen.  Perhaps we survived this enforced time together without major arguments because we’ve circulated around each other in our lives, giving each other space.  Some of us would probably appreciate more space than others.

Josephine Corcoran, With lockdown hair and a face mask, I rejoin the world

A hot night, no sleep
to cool down thoughts and doubts.
Then the light, the birds,

a cup of coffee,
as one must declare defeat.
A win is this dawn,

yellow and rosy,
the earth, a sweet funfair candy.
Fine, I’ll stay awake,

dream of lilac dawns*.

*dusks

Magda Kapa, Isolation Time – Throwback June

ruby is my birthstone the gem of July Ruby was my grandmother’s name this moon is a jack moon a jack knife moon a Jack and the Beanstalk moon a jackoff moon a high noon moon a Jack Torrance moon a screw you moon a moaning moon a moon of betrayal and butter knives this moon leaves suicide notes in cookbooks then makes dinner this moon shoots a gun on black and white television this moon dangles over the Aurora Bridge in the middle of the day but it’s a strong swimmer this moon shakes up history this moon is a tourist a sham a mark a shill a Shaklee salesman needing a drink of water a used car salesman with a cigar

Rebecca Loudon, 100% full

In the wee, small hours of the morning, once again, I couldn’t sleep. I was having one of those dark night of the soul kinds of night, where I couldn’t quiet my brain and go back to sleep. I decided to get up and do some offline journaling.

I ended this way, “So many roads circling back to a question: what am I going to do with the rest of my life? How can I plan now that this pandemic has changed everything? Or has it changed everything?”

I did some sorting. My spouse has an idea for a shelving project; I am fighting despair as the plan has gotten ever more complicated. All I wanted was a place to put my books! Books that have been packed away for 2 years now. Insert a heavy sigh here.

I came across some map fragments.

Kristin Berkey-Abbott, Fragments of a Map to an Unknown Future

I made this box for you

I filled it with fragments, beachcombed
sea glass, wisps of snagged wool.
I wanted you to know
the random loveliness of being alive,
to know it in your bones and blood.

I put in :

snow, to remember draughts
and rooms with cold corners;

a black handled knife, sharp as silk,
in a grey-vaulted market, the scent
of cut flowers to show that fathers
give like the gods; a bicycle stammering
through stems of barley, willowherb,
to understand that gravity may be defied;

the humped glass of a brown river,
black branches snagged on the weir’s rim;

these bundled letters in different hands
and inks to show how words fall short of love.

John Foggin, Our David’s Birthday

The language of illness is, as Woolf puts it, “primitive, subtle, sensual, obscene.” It is urgent, terrifying, and sacred. These are qualities found in poetry.

Later in the same essay, Woolf writes, “There is, let us confess it (and illness is the great confessional) a childish outspokenness in illness; things are said, truths blurted out, which the cautious respectability of health conceals.” 

The part about “the cautious respectability of health” implies that when we are ill, we can blurt out truths we wouldn’t dream of when well.

This is the time for honesty and fresh, raw language. This is the time for poetry.

Erica Goss, Plague Poetry

In the Google search bar, I type “how do you know when it’s time” and the first autofill response that comes up is “to put your dog down.”

Followed by: to break up, to leave your church, to dig up potatoes, to move on, to retire.

I don’t go to church and I haven’t planted any potatoes, so Google’s powers of divination are limited. But I was seeking information about how to know when it’s time to let go of my dog, and I hate that Google’s algorithms correctly anticipated that.

I wish I were searching for some of the other “how do you know when” topics; many are about food and their harvesting or cooking: salmon, mangoes, pineapple, garlic. I wish I cared about food more, the way I used to.

I try “how do you know when it’s too late” and I get both “to get your ex back” and “to have a root canal.” I’ve never had a root canal, but from everything I’ve heard about them, those two things might have more in common than one would think.

I trim the inquiry back to “how do you know” and the stakes are suddenly much higher: if you’re pregnant, if you love someone, if you have anxiety, if you have depression, if you have coronavirus.

“should I” yields a mix of results that speak to the absurdity of these times, of our lives: refinance my mortgage, get a covid test, get bangs, stay or should I go. Or, maybe just of my life. I suppose Google knows that I’m of an age where lyrics by The Clash might be what I’m searching for.

It’s only when I click on the lyrics to that song and read them–rather than listen to them through a haze of alcohol and hormones and unresolved childhood trauma (hell, completely unrecognized childhood trauma)–that I understand I’ve misunderstood them for my whole life.

Rita Ott Ramstad, A day in the life

The weight of other people’s suffering can be palpable, whether someone weeping in the next room or someone in agony across the globe. How do we go about our own lives knowing others are in anguish at the same moment? This question has haunted me, especially in my growing up years. I suspect such questions weigh more on children than we imagine.

By the time I was eight or nine years old, my parents had cancelled their subscriptions to news magazines because they couldn’t deal with repeated questions like, “Why is that village burning? Who hurt that man? Why isn’t someone helping that baby?” Even the most well-intentioned adult would rather not think about such questions, let alone answer them. Try to explain war to a child. No matter how you skew it, the answer comes down to whoever destroys more property and kills more people, wins. Try explaining poverty or prejudice to a child. It’s impossible to morally justify the indifference and greed that helps to prop up “normal” life in the face of truly open, honest questions.

Laura Grace Weldon, Compassion By Design

America,
we can shine and scrub your floors
without a Hoover or a Roomba, then punch
holes in the bottoms of fruit
cocktail cans so we can grow bird
chillies and tomatoes on the veranda.
We let a dentist in our old hometown pull
out all our teeth so you wouldn’t get
the chance to do it and charge us
triple. There is a fish we like to eat
whose belly is soft and sweet and full
of fat; but every bone in its body
is a tree that bristles with more than
a dozen spears. Like you, America—
if we’re not careful, we could choke
on even the smallest mouthful.

Luisa A. Igloria, America

The Unafraid is deeply moving in parts, as it portrays quite well not just the multi-generational struggle to create a better future in America, especially but not only in the Deep South, but also what forces those with no money, no education, and no papers to leave their countries for the United States. The sacrifices made are tremendous, and what it means for families to risk everything to come here is wholly unappreciated by policymakers who would rather erect walls than uphold the values this country is supposed to represent. Our cluelessness robs human beings no different from ourselves of so much, from the most basic rights and services we born here take for granted, to the opportunities to realize better lives for our children, opportunities slow in coming, if at all, to the undocumented.In addition to showing us the truths about forced migration and its life-changing consequences, the documentary also sharply reveals the racism endemic throughout this country. To be brown means having a life that doesn’t matter, if you want to go to college, if you want to make a living that lifts you out of poverty. To be brown means not having the right to believe in the “American dream”. To be brown means, in the argot of the film, to be “very afraid” until you become one of “the unafraid” who finds the strength to risk opening a closed door. That any one of us might watch this film and not see the wrongs we perpetuate in our government and socioeconomic and cultural policies, as well as through our myth-making, is to be deliberately obtuse and tragically indifferent to the riches that immigrants, undocumented people, asylees, refugees, and DACA recipients offer us.

Maureen Doallas, Musings in a Time of Crisis XXXI

Independence Day (or Interdependence Day, as I’ve heard it called): The country has been thrust back on me.   I’d left it countless times, then straddled between two countries, then made a life of motion.  But circumstances being what they are, I am simply facing it, America…  

posthumous, finished, junked, done — or part of the process of rising and passing that covid-19 has made us so aware of?   A “Finale for America” as clever wits have referred to rogue fireworks that have been exploding nightly?  In recent weeks and months I have agreed.  But the 4th gave me — what — freedom of stuckness.  I looked kindly on things; it wasn’t forced, it just happened.  

I thought about the Declaration of Independence and read, along with many, Frederick Douglass’ bracing famous 4th of July address: “You may rejoice.  I must mourn.”  The polyvocalism of these declarations of values – that we are living in the polyvocalism – unstuck me from singularity.  The truth and reconciliation process we’ve so long needed might be here.  I listened to the very best of American song — the sinuous pairing of elegant contrast, Louis Armstrong and Ella Fitzgerald duets.  In a flight from nihilism, there are ways to combine the large and small. 

Look how beautiful the day after – peony petals against a pile of oyster shells. They are dissociated from their meaning — yet in this time of appreciating passage, the wisdom songs of covid as well as garbage day, here they are.  The flowers had been flush and full, the oysters a marvel. The energy of passage keeps us from getting stuck.  The poet Alice Oswald talks about this in her new Oxford lecture, “An Interview with Water.” Poetry, dance, rhythm and water all keep us moving. Then there’s the leaping between odd things – country, trash and renewal – that keeps the mind buzzing.

Jill Pearlman, Of Oysters, the 4th and the Surreality of it all

& awaken cranium of geraniums, awakeness will make your thought gardens grow brighter.

& awaken all relatives of relativity, awakeness will travel you at the speed of light.

& awaken evil-faced clocks snuffing out lives with every tick, awakeness will allow you to more carefully consider each moment of every day.

& awaken those whose blues are blacker and bluer than the blues, awakeness can allow you to sing above the pain.

Rich Ferguson, & awaken

Despite saying I probably needed a certain amount of distance to write about the current state of events, and in fact a 2-3 month span of being unable to write at ALL really, I find myself mid-project on a series called BLOOM–named so because of the ways illness (actual, metaphorical) blooms in the body, in society, in the world. Also the way nature this spring, despite humans and their stupid diseases, continued to bloom while we were still dying. While people were being killed by the virus, by the government, by the police. But even still, I usually need more distance, and who knows how much time there is for any of us.

Kristy Bowen, bloom

On my walk home from Launcherley yesterday I made a note of the wildflowers I saw: Sweet Woodruff, Meadowsweet, Agrimony, Camomile, Pineapple weed, Yarrow (both white and pink varieties), Creeping Cinquefoil, Yellow Trefoil, Spear Thistle, Hawkweed, Common Mallow, Field Convolvulus (both the white and the pink-and-white varieties), White Deadnettle, Sowthistle, Herb Bennet, Herb Robert, Willowherb, Ragwort, various docks and sorrels, Water Hemlock, Spurge, Redleg, Fat Hen, Wild White Clover, Field Scabious, Burdock, Teasel, Marjoram, Hedge-mustard, and a Mullein when I was almost home. […]

My family moved from London to an isolated cottage in a rural part of Surrey when I was ten. It was the beginning of the summer holidays and, not knowing anyone locally, I spent my days happily wandering alone looking for wild flowers. My aunt in the Isle of Skye, a keen amateur botanist, sent me Collins Pocket Guide to Wild Flowers, newly-published, far too big and heavy for any normal pocket, but just what I needed. I learnt a lot of names that summer.

Ama Bolton, As I was out walking, part 2

Standing in my yard just after sunrise I picked a ripe peach from my tree and ate it right there. The fine and soft part of a morning in summer. Not far off, the sounds of birds.

James Lee Jobe, Standing in my yard just after sunrise I picked a ripe peach

So I’m contemplating memento mori with all my soul of late. Maybe if we all contemplated the theme memento mori we’d be a little kinder, a little more mindful. We’re here so briefly, so beautifully. And self-portraiture, I know it might get confused with the influencer culture when posted on Instagram, but they are two different things. Though interestingly, and I adore this, when I posted a picture there, I had a lot of comments on my sunglasses. (Which are from Simon’s btw — not a paid product placement, but interesting that that’s where we go in our minds, and I’m no different).

The thing about posting photos of yourself through time, is that you really begin seeing yourself, and seeing yourself differently. You see angles, you get to know your best side, your wrinkly neck, your flaws and your beauty, and your ridiculousness. One does begin to accept certain aspects of oneself. And also, because it’s not just one session per year or every second year for an author photo or work photo, it’s less important. There will be another moment.

The best thing though, is that you don’t seem to change as much, it’s much more about the slow process of living, aging, being. It’s all okay. Yes, I’m still picky and I’m choosing how I’m presented, portrayed, touched up in Lightroom, but that’s part of the art of it. I’m sure these photos say things about me that I’m completely unaware of.

Shawna Lemay, Contemplating My Themes

I have never considered myself a person who had any power; and yet I now recognize that just as I have privilege I never earned, I have power I never earned–and that I have indeed been using that power (as I have unwittingly benefited from privilege) and can do more with it. For educators possess power.

So do poets.

The past three months, as spring has bloomed into summer, poems of protest and poems that inform society have likewise bloomed. Poets of color, marginalized poets, poets who are disabled or queer or immigrant or for other reasons yearning to be heard are all over social media–which is not unusual in itself (the voices, the poems, have been online for decades)–but the difference lately comes through retweets and viral videos and shared posts at a higher rate than previously. These poems, and the prose and interviews that often accompany them, create discourse. Badly needed discussions. Confrontations that cannot be shoved away as easily as they were. I’ve been reading and observing, hoping a change is gonna come.

Ann E. Michael, Top ten, discourse, power

I’ve been advised enough times not to do it, you’d think I’d stop trying. But here we are again. The royal “we,” I mean, possibly, or the group of us who do such a thing, as opposed, I guess to the “they” who do not; that is: use the first person plural pronoun (we) in poems. Why do I keep trying to make it work?

It interests me to write poems from the perspective of this identity: a member of the human species. From this perspective I can think about the so-called “human experience,” not as “in opposition to the nonhuman,” but as a part of a, let’s face it, pretty significant force on the planet, and as a representative of a species that is able to think about itself and go “Hmm…really?” A member of a species that is aware of, possibly obsessed with, death, and, therefore?, a bit obsessed with life and its meaning.

But the use of “we,” or MY use of “we,” shall I say, has caused people to become argumentative (“you do not speak for me,” they say, or sometimes just “oh yeah?”) or to be otherwise put off by the lack of immediacy and intimacy (“hm, what are you distancing yourself from,” they ask). I don’t know, though. Do I not have the — what: right? capacity of imagination? proper hubris? — to speak out of that human stance?

Marilyn McCabe, We shall be released; or, On the First Person Plural in Poems

have you ever wanted to be that man
the one with the stick
you know – the one with the metal pole
who listens to your stopcock
out in the road
with his ear to the shiny wooden cup
at the end of his decision

or the man with his hands on the handles
of the surging tube that goes up and down
up and splurging down in the storm drain
that keeps the kids enthralled

or the man with the shiny wooden pole
with the pig’s tail hook that darns
the coupling links between the trucks
with such deft luck that barely at moment
between the buffers shine bouncing the
chains tight in a juddering offwego

Jim Young, have you ever wanted to be

Here’s a few of the poetry books I read during lockdown. Some took longer to arrive than others, but I liked the wait, the feeling of anticipation when something new is on its way. The Penguin Book of Haiku was one I felt I should have read a while ago. Here’s a lovely haiku from it, by Socho:

in the riverbreeze
a cluster of willowtrees
spring revealed

And then there’s the wild imperfection of Kerouac, and a haiku that sums up those days during lockdown where I waited for the books to arrive, and felt fully imersed in both my reading and my writing:

Big books packaged
from Japan –
Ritz crackers

I tend to nibble on oat cakes, not Ritz crackers, but I identified with the sense that really all you need are some good poems and a few snacks to keep you going.

It’s hard to pick a single poem from any of the collections I read, especially from Haiku in English: The First Hundred Years, which is a gem. I’ll quote this one by Max Verhart for now:

out of the haze
the dog brings back
the wrong stick

Isn’t it wonderful? Precise, evocative, profound.

Julie Mellor, Lockdown reading

Rob Taylor: In “Talking with Ancestors After the Show” you write “if there is a moment this is it / know better than to beg a minute’s sojourn // reminder to the artist: this is it.” I can imagine so vividly that line being delivered in a spoken word performance, and how it might resonate differently (and, in some ways, similarly) in that context. That Venn diagram between the “stage” moment and the “page” moment — their audiences, their performative spaces, their “voices,” their ephemerality.

As a writer whose background is in spoken word, how have you found the experience of putting your words, often first meant for public performance, onto the page? What have you been able to bring over with you, and what have you had to leave behind? What new opportunities has writing for the page granted you?

Jillian Christmas: I love that you frame them as opportunities. When I first approached the challenge it seemed to present itself as a fear of what would be lost, what eye contact or small facial expression would be missed and what emotional information would go with it. But your framing is absolutely correct, somewhere along the process, I discovered that it was in fact a great joy, almost a game, to figure out what choices I could make on the page that uplift the poem to a similar effect as I would have on the stage. In some places I learned that the voice of the page poem would be different, more concerned with shape, spacing, or a leaning, possibly tumbling word. In some places a more direct translation would occur, a long slender diving presentation, where my voice might have dipped or swayed (as in “But Have You Tried”). In the end I decided that there were no limits to my choices, allowing each poem to have as many lives as it needs, perhaps one for the page, a longer more lyrical or repetitive version for the stage reading, perhaps a third snappy edit for tucking inside the nest of the perfect song. A multitude of mechanisms to coax every bit of connective tissue from any given piece.

Rob Taylor, Playfulness and Gravitas: An Interview with Jillian Christmas

Mr Hoyes was no ordinary English teacher. He’d already had an extremely youthful Matthew Sweeney as his Poet in Residence at the College for a year, while numerous workshops with Ian McMillan were still in the future. I suppose I fell between those two stools, but I didn’t have an inkling of that at the time. Instead, all I knew was homework turned into writing stuff of my own accord, turned into staying behind after class to show it to him, turned into him gifting me copies of literary magazines such as Iron, where Peter Mortimer had published his short stories.

This sharing of his own work, treating me as an equal, was just one example of Mr Hoyes’ generosity, as was his gentle prodding of me in new creative directions. His support meant that I suddenly stopped feeling alone and different from everyone else. As such, he was crucial in my becoming the poet I am today.

However, things developed even further once I left for university. On my first trip back, I visited all my old teachers at the college and showed him some of my more recent poetry. He suggested looking at it together over a pint at the Hop Blossom the following Friday. Thus, Mr Hoyes became Richard, and our friendship began, involving London Prides over more than two decades, all combined with swapping our latest work. He’d bring short stories, articles he’d written for the TES and extracts from his regular column in the local paper, and I’d contribute my drafts of poems.

Matthew Stewart, A tribute to Richard Hoyes

I suppose I want to believe there is always
a way out and a way through. Because

what else can I do? Collapse into whatever
strangeness and fear I encounter and weep?

How quickly the cat shifts from panic
to acceptance. Look at her rolling

in the dusty earth, as if this place
is what she has always known it to be.

Lynne Rees, Poem: No Through Road

Death is an
unbroken horse.
All the wind

is wild. The
sun is risen
and we move

on, chasing.
Some day we
will catch it.

Tom Montag, DEATH IS

Poetry Blog Digest 2020, 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. This week: posts about the role of art and artists in a broken world, menopause, disability, inequality and pandemic; the fleeting joys of summer, books, gardening, nature, and a new album from the UK poet laureate. Among other things.


It has been over a year since I posted on this blog, a yawning gap that horrifies me. WordPress is suggesting I might like to riff on the keywords ‘toddler, delicious, politics.’ True, my thoughts these days are often split between dinner and Lego. But after a spell consumed by maternity leave and then the ongoing global pandemic, I’m back on the blog to review a really timely, genre-defying album I’ve been listening to, a new project featuring Poet Laureate Simon Armitage, a musical collaboration which foregrounds the spoken word.

Simon Armitage was a big influence on me as a young writer. I remember picking up ‘Zoom’ in an independent bookshop in Chesterfield and hiding away in the corner by the coffee shop to read it from cover to cover, enchanted by the wise-cracking narrators and shrewd observations of life experiences that didn’t seem so alien from my own. His succinct portraits of characters in crisis and his gift for finding surreal but convincing images might seem to make his work well suited for song-writing. But this project isn’t songs exactly, more poetry-meets-melody. […]

‘Call In The Crash Team’ foregrounds Simon Armitage’s words and voice, but there’s a sense of genuine dialogue between music and lyrics, haunting refrains emphasising the narrative of each piece. I found it strangely addictive, tracks instantly sticking in my head, becoming peculiar earworms.

Helen Mort, Call In The Crash Team – album review

“A lot of the lyrics have come about from writing in a time of post-industrialisation, austerity, and the recession,” explains Armitage. “And yet, even through those years and those atmospheres, there’s still been an exuberance around, an exuberance of communication, information, language. I think a lot of the speakers in the pieces are expressing some kind of marginalisation and are doing so as if they’re almost hyperventilating.”

That marginalisation reaches a sort of zenith, if that’s the right word, at the end of Adam’s Apple after a sequence of three songs that end with Waters singing/repeating  “It’s all too much for you” in ‘ the exquisite You Were Never Good With Horses, “move on, move on” in Urban Myth #91 and then “let go, let go” at the end of Adam’s Apple

Each song is written form the point of view of different characters, Never Good With Horses, for example written from the point of view of some dissatisfied with their partner’s discomfort with the natural world. The partner “comfortable with a steering wheel”  and “watching the movie of life layout through the windscreen’s lens”— a nod to Iggy Pop’s The Passenger, perhaps, but they “were never good with horses…my dear, always took a step backwards when they came near. Couldn’t bear to look in the dark rock pools of their eyes”. That last line is when you know you’ve got a poet running the lyrical show.

Mat Riches, LYR – Call In The Crash Team

This week I’ve left my phone at home for a few days and enjoyed not being in its company. We spent a beautiful day at the seaside for my daughter’s 21st birthday on Tuesday which was the first day of the most recent heatwave. The roads weren’t busy at all and there was plenty of social distancing on the beach – unlike subsequent days at the same location which you might have seen alarming pictures of in the media – so we were able to relax as a family with our picnic and swim in the sea. I am sort of regretting not taking any photos that I could now scroll through – and share with you – but at the time it was refreshingly calming not to be snapping away, replying to messages and generally falling down the rabbit hole of social media and non-stop news. I swam a bit, walked along the beach a bit, read a lot, talked to the family.

Josephine Corcoran, Once Upon a Lockdown Rose Unfolding

She tosses fistful of bleach into the vegetables simmering in the pan     the foam shores up like the salt at the estuary in Marakannam          In the town without a beach where the land lazily         copulates with the sea        the breeze at the gopura vassal  breathes into the womb  of her memory It is then she hears the machine                    in the depth of the lungs like a hawk rasping

Uma Gowrishankar, Bleached in the beachless town

Stars in a cold sky
Mend the torn butterfly wings
Underground railroad

At first these 3 lines don’t seem to go together at all. But as I’ve been thinking about them, I’ve been sensing connections.

Clearly, my subconscious is working on various connections that I don’t readily see as I move from task to task.

This morning, I made this Facebook post: “I had my first dream that had me worrying about close proximity and COVID-19 transmission. In my dream, we were packed in a Lutheran church for a high festival day. I was admiring the fabrics in everyone’s stoles and the banners and light streamed through stunning stained glass. And then I realized we were packed into the pews and had been for hours and no one was wearing a mask. It doesn’t take a trained psychologist to analyze the anxiety aspect of the dream–but in a church on a high festival day with beautiful fabrics all around me? Really, dreaming brain, really?”

I’ve spent the morning thinking about this dream, thinking about the reasons why I’m having a COVID-19 anxiety dream set in a church, especially when my local church will not be gathering in person until after Labor Day, if then.

Kristin Berkey-Abbott, Subconscious at Work and at Dreaming

Aubade Without End

Open a window; whistle
in the key of birdsong.

Stick your prayer flags
in the tumble drier.

Hear the kettle bubble
with laughter.

Bid the clock
keep its hands to itself.

Jayne Stanton, Postcards from Malthusia DAY SIXTY-NINE

When I had cancer? People used to say it to me nearly every day. About being brave. How we all had so much courage. Well, no. I didn’t feel it, didn’t have it, still don’t think I did. All we did was follow what we were told. And show up. We kept showing up. But, no. It wasn’t there. Not in my veins with the chemotherapy, and not in the radiation-tiredness several months later. One conversation stands out: when I challenged the radiologist to chat with me a bit more while they positioned me on the slab: that was courage. And another: When Jörn looked me in the eye and told me it might not be working and maybe to start thinking about a different outcome. God: I am telling you this now: I miss him, even though I am better.

And now? As I confront my racism? No. Please. It’s overdue and necessary. But it isn’t courageous. (Please don’t pat me on the back with a nice comment about this.)

Admitting to depression?

Facing my grief? And allowing myself to experience it?

Perhaps.

Maybe.

Those are truths I am learning to stand in. And I have to stand in them, the same as I have to stand and face and confront my racism. So I’m not sure. I am not sure. Perhaps saying I am not sure I don’t know maybe and perhaps are more courageous than I am absolutely right on this one. Perhaps more of us need to live in maybe. I’m not sure.

What about when I started writing poetry, the least profitable writing on the planet? Or this blog? Absolutely not. Absolutely not. Still don’t have it. I hit publish. I ship. I never know what is happening. What the showing up will force me into saying. But I am glad I do it. Even though as Shawna says it feels like the void. Well, lucky old void. But I do it anyway.

Anthony Wilson, Courage

Peer into mirrors

and see villages decimated by fire,
valleys from which creatures fled

toward forests of glinting knives.
From smoke, collect precious blood.

We can’t stop until our cities gleam
with the shine of our stolen names.

Luisa A. Igloria, Choropleth

Who could have predicted red excess,
unspeakable clots of denouement?
My mouths are unjammed, endless mess
of me congealing at the bottom of the john.

Ready now to lose the losing: night sweats,
palpitations, insomnia, floods of gore, done.
Dried up, a long fluent speech in crimson.
Dissolved and flushed. Yet the song carries
on, uncorkable pour of me, shameless.

Lesley Wheeler, Why You Should Be Reading About Menopause

Today I’d intended blogging about the books I read during lockdown, but after reading  Lesley Wheeler’s post, ‘Why you should be reading about menopause‘, I decided to post the poem below – first published in Tears in the Fence, issue 70. It’s a poem that uses found text, and I remember editing it a few times, each time condensing it a bit until I arrived at what I wanted, or as near as.
I was over the moon to have this poem accepted, as I’d submitted to Tears in the Fence on a number of occasions and not been successful. Then, oddly, I forgot about it. However, reading Lesley’s post brought it to mind again, so thanks Lesley for sharing your story and your reading list.
I’ll share my lockdown reading next week. In the meantime, here’s the poem:

to the militant, identity is everything
(Susan Sontag)

the older female body is needful of respect/ modes of representation must be consciously transcended/ I formulate this observation as movingly and concisely as I can/ Collette knew the sovereignty of the woman of a certain age/ drawn-out voluptuousness framed by darkness/ so powerful and indelible/ we are expected to perform the commodity we were invented to be/ in novels the older woman imparts etiquette/ the younger falls in love with a sugar beet baron/ grand salons were nothing more than a conceptual image/ depression and gonorrhea were the reality/ these days fulfilment means being obsessed by the question of your own authenticity/ when exactly does a woman achieve the menopause/ when should she stop dying her hair?

Julie Mellor, to the militant, identity is everything

I have not written here because I am wary of writing about my mental illness not only panic attacks in the store but the fact that people are shooting guns nightly loud and close for no reason other than the fact that they have guns and it’s their second amendment right to shoot them and now fireworks on top of that it really wakes up my PTSD that startle instinct is so strong I have not written here because I am tired of writing about my about my damn mental illness and I am still without a psychiatrist

I haven’t written here because my bipolar disorder hasn’t taken a breath even though the whole wolf world is on a break and last night my mentally divergent brain was cycling so rapidly I only slept for three hours

I’ve been working on a poem but my progress with it is glacial much like watching things grow yesterday I realized that my green house is simply a seashell in the world’s terrarium and benign alien beings watch over us with love and grace

Rebecca Loudon, Pig and farm report

‪‪you
tell me that we are not doomed‬
‪with words that are littered‬ out
of cars that fill extracted gardens
and the faecal hemispheres
of brains in denial of the
anthropocene such
a nice word that unfortunately
will not fit any tombstone
made from recycled denial
black plastic hate preserving
perfectly the scattering of
eulogies for rational thought
that the herds trample now
you
tell me no
it’s all
OK
isn’t it

Jim Young, you tell me no

The war we’ve been born into where our first crying breath is a bruise that never heals.

Some use their wounds to flower the blood, others carve their pain into stones and go on the attack.

Touch, turmoil, tango: a counter-clockwise dance leading us in and out of love.

Throats offering shelter for song-chakra while also making themselves just the right shape and size for strangling.

The war we’ve been born into where enemies are created by our simply being.

Others stand boldly on the frontlines, scar their lips with light, speak only peace.

Rich Ferguson, The War We’ve Been Born Into

I confess I found The Name of the Rose boring, even after giving it a second chance. I didn’t mind shredding it. But why was Thoreau on the discard pile? It’s true he shouldn’t be but I’ve read most Thoreau and assumed I didn’t need to read him again. He writes wonderfully but always seemed like a narcissist, and the story (myth?) about him living his solitary life on Walden Pond but having his mother do his laundry conjures all the snark in my heart.

Nevertheless I was combing the essays for ‘by’ and came up often in some interesting and beautiful phrases. I was distracted by the content of the text. Close an eye to century and circumstance and Thoreau has relevant things to say. He died in 1862 of TB, a few months before Lincoln signed the Emancipation Proclamation.

We dream of foreign countries, of other times and races of men, placing them at a distance in history or space; but let some significant event like the present occur in our midst, and we discover, often, this distance and this strangeness between us and our nearest neighbors. They are our Austrias, and Chinas, and South Sea Islands.

That’s rather how I’ve felt through the past weeks, watching everyone react in different ways to politics and inequality and ideas.

Anyway, I cut Thoreau up and tossed the scraps. But I also felt like I was ingesting the essays. I have since spit some of it back out in various collages.

Sarah J Sloat, By looking in the mirror

When I told a colleague that I’d set up the greenhouses, she said she imagined I had read up in detail on everything to do with gardening. And I see why she’d say that. The odd thing is – I haven’t. I am truly going at it with a beginner’s mind: I put some seeds in the dirt and watered them, and now I have cilantro for the next few months. The strawberry plants have white flowers and funny, green-freckled strawberry-promises. There are wild vines from the sweet potato plants that I have no idea what to do with, but I am excited to see what happens. I’m quite prepared that it may all go to hell.

I’m silently and happily ignoring everyone’s advice. I did however accept a kale plant from H. It seems she planted her bed too tightly.

Running the same old route today, I tried to see it for the first time. It wasn’t difficult. The canopies of the trees have become so lush that the trail is darker than it was just a few weeks ago. The lilypads are budding with little yellow fists everywhere. I was careful to keep an eye out for snakes.

To the artist there is never anything ugly in nature.

I wondered what you made of this quote from Rodin? I don’t know how he was defining “nature”. And I wonder how I define it. This virus is a part of nature. And we are seeing in the news are aspects of human behavior that are undeniably human nature, undeniably ugly.

And then I’m not sure if Rodin was setting out to define an artist by how they see the world, or to describe how an artist sees the world. The cynic in me wonders what he might have been excusing by virtue of “art”. Artists excusing ugly behavior on the basis of their identity as artists is something I still can’t accept. I want to strip all artists of a sense of entitlement and have them focus on obligation.

Ren Powell, Work for Pleasure

Beneath it all there’s a feeling, both with the pandemic and the heightened awareness of Black Lives Matter, which does matter to me a great deal, that making “beautiful” art in this moment is frivolous, superfluous, socially-irrelevant — and, at worst, white, privileged, and clueless. This is a dilemma into which many artists in all fields fall at some time, and I can talk my way through it to some extent: art and beauty are always relevant, but especially at difficult times, because the human spirit needs them, and because art affirms who we are at our best. But, oddly, it’s a lot easier for me to participate in making a virtual choir video than in filling sketchbook pages with color and line and form. It’s not just about me, it’s collective, and even though we’re singing European classical music, I know from comments received that the performances are a comfort that are appreciated by listeners well beyond our own congregation. It also doesn’t feel problematic to write a blog post like this or keep my journal or write letters, where I’m trying to figure things out and to communicate.

As for art, though… I appreciated a line that my friend Teju Cole wrote in a New York Times collection of essays about the pandemic: “In these bruising days, any delicately made thing quickens the heart.”

In a letter of response to him I wrote:

“I worry that all the delicate things are endangered, frivolous, or irrelevant, and that makes me sad, because I feel we need them more than ever when our hearts are so battered. Recently, inadvertently, I saw a set of collaged photographs of the youngest Black person to be executed in the United States — it was a 14-year-old boy who looked like a child, being strapped into the electric chair — I don’t remember the year. His eyes were open, frightened, but somehow uncomprehending; it was the most horrific series of images, and I can’t get them out of my mind. The cruelty of this country has been, and is, limitless.”

Perhaps that is the crux of it: we have all been seeing images and videos that are deeply disturbing, and somehow this affects our visual/mental/emotional processing in general, particularly for those like me who are somewhere on the empath spectrum. I’m able to write about how I feel, I’m able to put my emotions into music, but I’m not willing to make dark, disturbing, or violent art — and “pretty” art feels superficial — so instead, I don’t make much of any at all.

Beth Adams, Hermit Diary 31: Struggling with Art

Today’s poem is a rather poignant one, not in tone but in the circumstances surrounding it. James Aitchison is a poet who lives in Stirling. He was born in Stirlingshire in 1938 and has written a number of superb poetry collections over the years including a study of Edwin Muir’s poetry (The Golden Harvester) and the fascinating and ambitious New Guide to Poetry and Poetics (Rodopi, 2013) which explores the nature of poetic creativity. He’s a poet I discovered when I was starting to write poetry in earnest myself and he’s someone whose work I treasure very highly and return to regularly for guidance.

People who have encountered Aitchison’s poetry before probably know that one of his main themes is the mind itself, an epistemological focus on how it works (or not!), ranging from an awareness of our primeval pre-human consciousness to the very heights of artistic endeavour and how this is achieved. Today’s poem is a playful meditation on the mistakes we make as learners and looks at the eventual decline of the mind.

I began my intro here saying that this poem is a poignant one. This is because last year, shortly after this poem was written, Aitchison had a near-fatal stroke which resulted in some serious neurological and physical impairments. But he remains hopeful for recovery and is looking forward to writing poems and gardening once more. I wish him the very best and I am honoured that he has given me his consent to share this poem with you. His most recent collection is Learning How to Sing (Mica Press, 2018). [Click through to read the poem.]

Ritchie McCaffery, One poem by James Aitchison

This week, I will be back to library tasks from home after a much needed week off, including a hard press on things that won’t be as likely to happen once we’re back. Also new layouts and some author copy orders.  I did get a chance to focus on a lot of writing and revision related things, as well as send off some submissions of the work that was building up from late last year and early this one. I am still plotting ways to support and publicize the new book during the social distancing era and got a bit of a start on a book trailer. I’ve also been musing over what to do with the build up of other, newer, manuscripts –I am seriously considering publishing them through Amazon so they’ll also be available via e-book, which seems more important now than ever.  I love the presses I’ve worked with but also like the autonomy of self-publishing, though the groundwork is a little harder than if you have a press sponsoring a release. Since I am finishing a lot of projects (feed, dark country, soon animal, vegetable, monster)–most of which I am itching to make available in a more timely matter–it gives me a bit more control.   And I have the layout and design skills to make a really nice book  (and if not Amazon, who I have complicated feelings about, another POD publisher.) I’ve also been self-publishing smaller projects for years, and while I initially struggled with the legitimacy goblin and what is “acceptable” in the poetry biz world–especially in this new world where we all may die of covid next week–fuck that shit. Fuck all of it. While I was creatively paralyzed and could barely write at all for a couple months there. I am writing again and want to find the most efficient way to connect with readers and some of the old models are sometimes not the best.  

Kristy Bowen, notes & things | 6/22/2020

Of the ideas pitched to help revolutionize how we do poetry publishing, one that appears now and again is a kind of “reverse Submittable” (RevSub from here on out): rather than having poets submit repeatedly to numerous journals, this would allow for a one time, one stop posting site for your work which editors could then browse and select. Make the publisher come to the writer, essentially. The idea is appealing for poets in particular because it cuts down on the redundant, tedious task of sending out the same poems and collections over and over (to very, very high rejection rates). This could also lead to better placement for the poet, if say multiple journals all want the same poem, they could choose which would be the best fit for them. If voting and commenting were enabled, this forum in itself could be gratifying and function as a kind of publication in itself, as opposed to the arid wasteland that is a Submittable queue. It could lead to greater transparency, and possibly a more real-time sense of where an dhow ones work stands. Further, it would cut down to some extent on the hidden hierarchy of editorships and the inscrutable processes by which poems are selected and chosen.

R.M. Haines, “Reverse Submittable” and the Dream of Co-Operative Publishing

Flint is built around a central question, one that is at the heart of grief and at the heart of life: “How do we give hope to the dead?” Because we are all, in the end, ‘the dead’, and because we are all strangers to each other (it is only a matter of degree), this extended prose poem is about finding the passages that lead us towards each other, so that we might “commune”, or (to use a noun phrase which carries more specifically religious connotations), so that we might partake of “communion”: a wonderful word, which Díaz Enciso uses in relation to the crowd at a rock concert which later becomes the crowd at a funeral. It is in this communion (which, more than a coming together, is a sharing of intimacies) that hope in the form of Spring is found. Not for nothing does the poet comment at Flint’s funeral “The world is, today, an orchard”. 

I suspect, because of its unusual form and perhaps because of its use of a real-life deceased  individual with relatives and presumably an estate, that this may be a pamphlet which continues to find full publication elusive, but I hope I am wrong because it is a profoundly moving piece of work which deserves a wide readership. Anyone who has a mind open to the creative and generative potential of placing one thing beside and in place of another, should take a look at what this e-pamphlet has on offer. 

Flint – An Elegy and a Book of Dreams is available from Adriana Díaz Enciso’s website, here. 

The poet will donate one third of any proceeds to the National Suicide Prevention Alliance and another third to the NHS. 

Chris Edgoose, The Man in the Tunnel: Flint by Adriana Díaz Enciso

So, besides trying to take bird pictures while I was briefly awake every day this week, I tried to distract myself from the pain (I can’t take most pain medications, sadly) with the Apple TV series Dickinson – Emily Dickinson’s imagined life as a rebellious young woman, with a trip-hop soundtrack and a music-video aesthetic, complete with giant bee hallucinations, and caught the film of Virginia Woolf’s speculative novel of time-travel and crossing gender boundaries, Orlando, starring Tilda Swinton, which was beautiful and playful and very well done. I enjoyed Dickinson (especially a guest appearance by John Mulaney as a notoriously unhelpful Thoreau – spoiler alert: I never liked Thoreau) and it drove me to go back to finally finish the slow-and-scholarly book After Emily, a discussion of how Emily’s work eventually got published, by whom, and how it became famous. I’ve been making my way through Woolf’s work in the last year, so watching Orlando fit right into to my reading agenda. Both shows make the point of how difficult it was in each time period to become a woman writer with respect and a following. The more things change…the more they stay the same?

Jeannine Hall Gailey, Reports from a Root Canal, Dickinson and Orlando, and an Uptick in Coronavirus Cases Across the US

Rob: You mentioned our sudden new era of Zoom brunches. I think a lot of people who have gone through a major event in their personal life, as you have with your concussion and recovery, are finding it surreal to watch everyone collectively deal with the upheaval of the COVID-19 outbreak, having experienced their own upheaval, alone, previously. How are you doing? In what ways do you see overlaps between what you experienced recovering from your concussion and what we are witnessing and experiencing now?

Kyla: Isolation is not new to me. Getting groceries only once a week or once every two weeks is not new to me. Being unable to leave the house or see people and being unable to access basic healthcare is not new to me. I already know how the light falls inside my apartment at all times of days and in all seasons. It’s been three years since my injury, and symptom management is still my primary occupation.

I can see how this might sound bleak, but isolation has been my reality, and I’ve found ways to live within the restrictions my disability imposed, rather than waiting for it to be over so I could go back to “normal.” Right now, I see people questioning normalcy and who the status quo serves more than ever. Crisis can force re-examinings, it can be generative, but the cost can be unbearably high.

If I may, a few pandemic pieces by disabled writers that I’d recommend: this Grazia essay by Mimi Butlin — filed under “Health & Fitness,” because the perspectives of chronically ill folks are now considered relevant instead of fringe; this Vice piece featuring Sharona Franklin, the artist behind one of my favourite disability-related instagram accounts, @hot.crip; and Liz Bowen’s newsletter from New York.

Rob: Yes, of course! Thank you so much for those links, and for bringing in new ways of looking at and thinking about the world. Your book does a lot of that, too. In “I’m Not Better I’m Just Less Dead” you write “I have nothing / to offer Literature / or Capitalism / not even a body / just an illness.” Similarly, you write in a subsequent poem “Has illness / made me more / or less human?” All of that struck me, the separating of the body, the self and the illness, each influencing the other but apart from it. It made me think about “me” in a different way. Which of those parts (the body, the self, the illness) do you consider “you” and which feel outside of “you”? From which do you think these poems emerged?

Kyla: I think I was working at the Prose Editor at PRISM international when I wrote that first poem, but I could barely read, and I was hiding the extent of my symptoms because I didn’t want to lose my job. I couldn’t review books, I couldn’t host or attend events, I couldn’t hang out with other writers or read their work. The amount of labour I could do, either intellectually or physically, was really limited. And so much of the messaging we receive, implicitly and explicitly, is that our value is rooted in our productivity, our ability to labour in particular ways and under particular conditions. That’s part of the reasoning used to justify and perpetuate ableism.

When I became disabled, I simultaneously became less useful to capitalism (except insofar as I was spending everything I had on rehabilitation) and some of the people around me, and more useful to myself and the people who understood me. I think the self is the core, but it can’t be cleaved from the body, or the ways illness imposes itself on that body. These poems came from a need to make that imposition visible, and unmistakable.

Rob Taylor, Visible and Unmistakable: An Interview with Kyla Jamieson

But honestly, the problem isn’t within us as individuals (and so we can’t fix our feelings about them entirely through our individual actions), and shouldn’t living feel like a slog right now? The world is way, way too much with us these days. You know that old bumper sticker, the one about how if you’re not pissed off you’re not paying attention, or something along those lines? That. All of which is why one of the things I’ve been grateful for this week is learning that there’s a word for exactly what I’ve been feeling: Weltschmerz.

Isn’t that a grand word? It’s almost onomatopoeic, the way those syllables sort of crash into each other on their way out of your mouth, with that hard stop right in the middle of it and that sort of drunken-sounding raspy sibilant ending. You’ve got all the elements for a party in those letters and sounds–and you can see that–but they don’t arrange themselves into a party. They aren’t in the right order.

If you, too, have been wading through weltschmerz (aka jello, aka existential depression), isn’t it at least a little comforting to know that other people have felt exactly the same way–enough people that we have a word that captures the subtle nuances of this feeling, and of this maybe-apocalypse that we’re living through? (Hey, on top of pandemic, economic meltdown, institutional instability, and massive unrest, don’t forget the climate. It’s still melting.) It’s not boredom or depression or listlessness or ennui or anxiety or angst. It’s weltschmerz, baby. And if ever there was a moment for it, surely it’s now.

You’re not alone and you’re not broken or ungrateful or spoiled. Things are fairly terrible. Don’t let the toxic positivity crowd gaslight you into thinking the problem is you and your attitude. Maybe, instead, your feelings are a sign of your wholeness and your optimism and your hope, and of your positive vision and your love for the world. Maybe it’s all the very things we’ll need to get us through to some better other side.

Rita Ott Ramstad, Weltschmerz to my world

Just a sliver of waxing moon, one night after the new moon, and no breeze at all. A hot summer night here on the hard edge of the world. I am a speck on this huge planet, which is itself but a speck in the vastness of the galaxy, and beyond that, the numberless galaxies of the endless universe. Oh my. Just then I felt a bare hint of a breeze. 

James Lee Jobe, Just a sliver of waxing moon, one night after the new moon, and no breeze at all.

Poetry Blog Digest 2020, 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. This week saw poetry bloggers mourning, celebrating, pondering, and agitating — sometimes all in the same post. There’s no sign of a summer slump in blogging, and not too many people seem to be reaching for light summer reads, either. Perhaps that would change if we allowed ourselves to go lie on the beach. But alas (or not), most members of this community are too conscientious for that. And besides, there are monuments to be toppled…


In a revolutionary time, the role of the poet can be exposed in difficult ways. When direct action is in full swing, the indirect, mediated work of language on a page feels almost irrelevant. And commentary on the institutions that surround this work seems even more so. And so I begin here by acknowledging that all I have to say below is rightly eclipsed by the vastly more important fight for Black lives and for the abolition of police and prison; and by the continued calls for justice for Breonna Taylor, James Scurlock, Robert Fuller, Malcolm Harsch, Rayshard Brooks, Tony McDade, Riah Milton, Dominique Fells, and so many others. I have been in awe of the protests leading to the dismantling of the Minneapolis Police Department; to the emergence of the Capitol Hill Autonomous Zone; and to continued calls for justice and revolution across the world.

If anything, in what follows, I hope to carry some of this revolutionary momentum into the insular world of poetry and its institutions. And I have been encouraged to see that, in recent days, others have already begun this process. For poets, the most significant upheaval has occurred within the Poetry Foundation. In the wake of what was effectively a “poet’s strike” led by the Ruth Lilly Fellows, president Henry Bienen has been pushed out, the board is promising to audit their financial structure, and they have pledged more funds toward supporting Black poets, artists in need, and social justice. Further, in the publishing world more broadly, change is signaled by open discussions online revealing enormous disparities in pay, leading to questions and demands that may acquire greater momentum. The National Books Critics Circle has nearly collapsed. And on a near-daily basis, it seems that new abuses and inequalities are brought to light in writing communities. So I think it is absolutely time for poets and writers to drastically rethink our institutions and practices, and to refocus our energies in light of this historical moment, applying pressure and realizing that—although many of us are barely scraping by—our work does have an economic function that can be leveraged for change.

However, many poets may first need to reconceive how they relate to these institutions and the prestige they confer. Also, it will require some to break free of the consoling illusions of liberal politics. For it is all too common for poets, both inside and outside the literary-academic system, to have a blind-spot about their own virtue and autonomy—one which is reinforced by the liberal humanism that is more or less the norm in creative writing programs. In fact, it was even stated quite recently that poets are not often on the side of power. And I suppose to some this may seem sensible enough. After all, poets are generally sensitive people who simply love language, and they often come across as underdogs in a world that doesn’t much want to connect with their work. However, under such illusions, and especially when aligned with institutions, poets develop serious blind-spots that can help perpetuate real harm. So we badly need to reconceive of how poets relate to power, and we need to be rigorous in critiquing and working to transform or even abolish the institutions that we so often turn to for support. And while anti-racism and anti-sexism are absolutely at the heart of all this, so too is anti-capitalism. We can’t afford to be confused about our economic function any longer. We need to educate and organize ourselves, and this will begin by working in active repudiation of the lures of institutional prestige.

R.M. Haines, On Poetry, Prestige, and Power

I’d had other experiences that helped me begin to learn and intellectually understand the role of race in our country, and my own socialization as a white citizen of it. I’d unpacked my invisible knapsack. More than a decade earlier I’d read Lies My Teacher Told Me and given my own children A Young People’s History of the United States. In the months since August of 2016, I’d read Waking Up White, and Between the World and Me, and The New Jim Crow. I’d absorbed “The Case for Reparations” and watched Rukaiyah Adams’s powerful TED talk on the enduring economic impacts of being Black in America. As part of a year-long equity certificate program for educators, I’d explored the racist history of Portland, Oregon and written my own racial autobiography, a 6,500+ word essay exploring how I’d spent my life largely color-blind, an easy thing to do having never lived anywhere but the Pacific Northwest, home to “sundown towns” and “The Whitest City in America.”

I thought I’d gotten it–and the learnings I’d gleaned from those experiences had been painfully acquired–but my day at the Portrait Gallery, somehow, broke through something in me that my earlier learning hadn’t penetrated. I cannot tell you why or how, but seeing wall after wall after wall of wealthy white men, with just a smattering of white women (many of them wives of said men) and people of color, in the early months of the Trump presidency, in a city of so much power, where there are such stark, visual lines between people of color and people absent of it, brought the truth of our history home to me in a way that nothing else had, and I felt the fairy tale–all the myths about America that I’d been raised on and believed in and loved–shatter. It didn’t just break my ideas about my country; it broke my ideas about myself.

It was the first of three days touring the capitol, and in everything I saw afterward, I saw the white supremacy that permeates my country. It was not simply a thread running through its fabric. It was the frame, the foundation, the underlying structure of every story I’d been told. I didn’t just understand it; I felt it in a way I never had before. I remembered my twentysomething self eschewing the idea of a diamond engagement ring because most diamonds came from South Africa, home to apartheid, which had not yet fallen in the late 1980s. My fiance and I had wondered how whites in that country could live with themselves, could live in that country, benefitting from such injustice and oppression. Thirty years later, I thought maybe I understood them. I wondered if they, somehow, had been as blind to their systems as I had been to ours. The cognitive dissonance I felt was akin to vertigo, and it was beyond disorienting to realize all that I had never seen that had been all around me, for all of my life. It was humbling. It was shameful. And it hurt. Losing Abraham Lincoln hurts.

How had I been so ignorant and unaware? What else might I be missing now? What else wasn’t real?

It was not unlike the awakening and reckoning I’d experienced when emerging from an abusive relationship, when I began to realize truths that had previously been too threatening to see. From that earlier, personal experience, I could see that my education, my culture, and my country had–like my former partner–been gaslighting me for the entirety of my relationship with them. The terrible thing about gaslighting is not only that it messes with your perceptions of reality, but also that it messes with your perceptions of yourself. You learn not to trust yourself, a lesson that rings even more true once you finally start to see all the ways in which you’ve failed to understand things fundamental to your life. You lose whatever sense of yourself you’ve had and have to build a new one.

That is where, collectively, we are now, and it all hurts. That rebuilding is also hard, hard work.

Rita Ott Ramstad, Reckoning

Tonight an eagle flew horizontally at eye level straight through my front yard my heart shivered with the wild beauty of it I ran out to the porch to what? see if I could track its passage? to hear if it left me a message about my dying country? a parcel?

I have been sick a pancreatitis flareup again but it was a short (though painful) bout just a week no doctor I felt today like I might be on the mend I don’t drink and I don’t smoke but I can lie very still on top of a hot water bottle and take ibuprofen I have some Vicodin but I’m saving it for the apocalypse or in case I fall down and break my arms off

I dreamed I was trying to play the clarinet in an orchestra and I couldn’t make my left hand close around the upper joint the conductor was the american president a panic dream and a music anxiety dream all rolled into one I woke up in a slick sheen of sweat probably my fever breaking

that eagle though shot through the green like jesus on a bender

Rebecca Loudon, Pig and farm report

display a weapon threaten
to use a weapon remove
a weapon from the holster
brandish and use a weapon
restrain the body the black
body the brown body demand
immediate compliance
disrespectful stance obscene
gesture whose obscene gesture
use of command voice nothing
conversational can transpire
kick hand cuff leg cuff
expletive oleoresin
capsicum takedown blunt
object pressure hold spit
mask carotid hold wrestle
hold control hold
subdue subdue subdue

Luisa Igloria, police continuum of force

As I slide the little box of my tefillin shel yad to nestle beneath the sleeve of my guayabera shirt, I remember the old men in the weekday minyan where we went to pray after my grandmother died. Some wore bolo ties. Some had sportcoats hanging off of one arm, sleeves rolled up. And some wore guayabera shirts like these. Like my grandfather wore on that lonely morning as he began to drift, unmoored, away from us. Mississippi had just ratified the Thirteenth Amendment, finally agreeing to the abolition of slavery in the year 1995. Today pandemic jostles for headline space alongside police killings of Black people. Look how far we haven’t come. My grandfather was a thoracic surgeon. He fled the Nazis in 1939. Dare I hope that he would stand up for the right of every Black human being to walk, play with toys, jog in a park, drive a car, sleep on a sofa, listen to music, drink iced tea, birdwatch, and carry Skittles, without fear of a cop or armed vigilante or garden-variety racist stealing their breath?

Rachel Barenblat, A sign upon my arm

The rain feeds the trees, feeds the earth, and pounds the stones. Given time, water will cut through rock. Rivers gain strength and power, and they rage. And me? I’m just an old man turning on his windshield wipers.

James Lee Jobe, The rain feeds the trees, feeds the earth, and pounds the stones

House Mountain, visible from my desk past telephone wires, is a daily reference point that appears in many of my poems, often as a way to touch base with forces much larger than my own little life. The piece above was in 32 Poems; in the final poem of The State She’s In, now three months old, the same mountain gives me a stern talking to about ambition. This morning House Mountain is invisible behind haze. It doesn’t mind giving me a metaphor for an uncertain, unforecastable future, apparently. Nor does my cat Ursula, who has taken to chasing her tail on a staircase newel. The other day she fell off, busted a lamp, and slid down rump-first behind the upright piano–clearly enacting the state of my brain.

DACA survives, at least for a while: good. A monstrously destructive president slides in the polls: all right. My daughter’s stories of recurring police brutality to Black people in Philadelphia: the record keeps spinning. I’m not writing much these days, but I think the 2020s are going to be another great decade for protest poetry. There were two powerful ones in the New Yorker I flipped through yesterday, by the always amazing Marilyn Nelson and Terrance Hayes. They remind me that I don’t have to be writing; I can just wait out the mists. Being a reader, voter, donator, person at rest: those are all fine, too.

A few good things I’ve been a part of lately: the Practices of Hope reading I participated in a week ago was warm, lovely, inspiring, and pretty much ego-less (recording here, the About Place issue it’s based on here). Verse Daily kindly featured a poem of mine, “Unsonnet,” that recently appeared in Ecotone. I have a gigan about my parents’ pine green Gran Torino in Literary Matters: anybody else old enough to remember those seatbealt-less rides in the “way-back”? Sweet interviewed me here. And I have an essay about teaching in my part of the south in Waxwing (a former colleague calls this place “Confederatelandia”). That one I did write recently–miraculously, really, given how hard this spring was!–but it’s just a 1500-word expansion of comments I would have made on an AWP panel called Teaching in the Confederacy, organized by Chris Gavaler and featuring Lauren K. Alleyne, Tyree Daye, and Gary Dop. Editor Todd Kaneko urged me to keep digging deeper into my own evasions, making it a better piece, but I presume it will be outdated in about five minutes. As I just wrote to a former student, now a professor himself and wondering about how to be a better teacher-scholar during Black Lives Matter, I’m in a constant process of self-renovation these days.

As is necessary. I think about Breonna Taylor every day, and the dreaming she can no longer do.

Lesley Wheeler, Dreaming

She came back eight months later
darker and thinner, with a distant look,

began talking of her body as a tenement
she would soon vacate.

She referred to time as the end of a kalpa
when the waves lashed the walls of Tiruvelikeni kovil.

It was a part of the story she narrated –
the leaf on the water at the moment of dissolution

as the sea bed heaved. If alive today
she would have translated the pandemic as pralaya –

both three syllabled, hers ending with a vowel
the slow exhalation of air when light escapes the sky.

Uma Gowrishankar, Pandemic/Pralaya

Here in King County, where I live, we just hit stage 2 of the re-opening, though Washington State’s numbers, like a lot of the rest of country’s, are turning worse, not better. Yesterday night there was a block party in my neighborhood, older people and children, lots of beer and laughter, nobody with masks on, and I wondered if these people were stupid or suicidal or just oblivious. Do they forget there is still a plague on, one that has no good treatment, that we are still a year away from a vaccine at least, that it can cause permanent organ damage if it doesn’t kill you? At the wineries, drunk people cheek to cheek, no masks, stumbling along through the paths. I know this exact thing is happening in a larger scale all throughout America right now.

I feel so disappointed in people. For one, their refusal to face scientific facts. For two, their inconsideration towards people like me – vulnerable to disease because of immune problems, just “it’s okay for you to die, it’s not going to happen to me.” Selfish at best. Murderous at worst. Their boredom and refusal to acknowledge facts will lead to death and then, even more death. It’s tremendously depressing how predictable it is. I knew America didn’t value poetry. I’ve learned that it also doesn’t value science. Or the lives of me or people like me. It doesn’t value anything that isn’t easy and make it feel good. I feel less and less like an American, and more like an alien here, like I don’t belong here. Tell me, are you feeling this too? […]

Along with my disillusionment with America, I’ve been equally feeling discouraged with the PoetryWorld, which I knew from a young age (well, from the time of my MA in my early twenties) was flawed and full of people who might take advantage of other people, but it still surprises me when it happens. There have been a lot of shifts in power in the PoetryWorld, and maybe something good will come from that.

And what can I say? I’ve been writing and submitting since I was nineteen, taking a dozen years to work in tech, getting too sick to continue working in tech, and turning back to my dream of being a writer. I had hoped at this point I’d have more to show – that I’d have had a little more success by now. That I wouldn’t still be sending out my manuscripts (with endless checks, endless months of waiting) to publishers, still knocking at the doors of bigger presses, still fighting for…more nothing? What am I doing with my life?  I am a fighter, but sometimes even I get tired. And today is one of those days. We try to be good literary citizens, volunteering at literary magazines, serving on boards, donating and writing endless book reviews and…what is the result? Not that you do it for a reward, but…have I been naive, trying to do things the right way, trying to be kind, trying to be scrupulous? Anyway, I know from social media that others are giving up and turning away from poetry right now, which I think is a shame, because now is the time we need poetry. I know I do. I turn to reading poems that moved me back when I was nineteen. I read new books full of passion and intelligence, and they give me hope. Plus, I can’t stop writing poems. I have the start of a third poetry manuscript of my hands now. I just need a publisher to believe in one of them. Those of you who are also discouraged – just remember, the world is turbulent now, turning on its axis, eclipses and planets in retrograde, there are plagues and protests and whispers of war and ruin. We just have to make it through. That is our job now – to survive, to be around to rebuild a better world, and a better PoetryWorld.

Jeannine Hall Gailey, Greetings from the Solstice in Seattle, Disappointed with Rising Covid Numbers and Re-openings, Feeling Discouraged with PoetryWorld

If you’ve been around here for a while, you’ll have read my list of calm things to do and at this time I keep coming back to good ol’ number 16, which is “Share your calmness.” Of course we’re angry right now and with every right to be. I am so angry at the brutality and racism and unfairness. And here I acknowledge my privilege because I know that not everyone can step aside and that living in Canada as a white woman affords me an enormous amount privilege. But is it still possible to be a donor of peace and hope? Is it still possible to attempt to be the calmest person in a room/zoom? Is it possible to let our calm become a contagion?

Anger can be effective, and necessary. Now is the time for anger, I can’t deny that. Even Bruce Springsteen is using the F word these days. Good for him, man. This is not to be taken lightly. When the boss is telling you to put on a fucking mask, this is serious stuff.

But okay, we’re wearing a mask, we’re trying to be calm and let it ripple out so that it can help others become calm and we can try to lower our blood pressure etc.

I keep thinking about all my years at the library, trying to develop and to really have an open-hearted stance. I put my whole body into that stance and my eyes and my facial muscles. It’s hard to do when you’re tired, or wary, and sometimes even a little afraid. But I’ve always found that when you make this effort, when you throw yourself out there with an open heart, the payoff is amazing. It’s really about having trust in humans, faith that if you are your best self, they will bring theirs. I would say that this works almost all the time. But now, if our faces are covered, how is this going to work? Early on when I started working at my current library branch, I got Bell’s Palsy, which I have bored you all with repeatedly, and wrote about in my latest book. Suffice to say, half your face is mud/basically paralyzed, and this usually lasts 3-4 months. Most people recover but I had some depressing thought that I’d be in the whatever percent of those who don’t. Don’t ask me why, I had convinced myself of this, and so went back to work before I strictly needed to. Long story short, I couldn’t use my usual facial expressions to convey those things I wanted to convey. So I had to really rely on the rest of my body, my eyes. The eyebrows were also useless, though I’ve often been asked if I even have any. I do! They’re just very light, haha. What I realized is that what’s more important is just feeling the feelings. Feeling the faith, and actually trusting. That that is enough. It’s felt. Words, also good. But yah, it sounds all fluffy and mystical, but in my small experience, it worked. You send out good, you get good back. You can still do this, emanate the good vibes, the whole heart, wearing a mask. And if it doesn’t work, at least you sent out good. Because for me, how I walk through the world is the thing. This is what living is. This is what being a decent human is. (Yes, sometimes it’s also yelling at people Boss-style). The thing is, none of this is going to go away overnight. How do you want to walk through the world? What is your stance?

Shawna Lemay, Also this

Sometimes all it takes is a placebo of a smile placed askew on my face to get me imagining I could’ve been a Picasso model in another life.

Or perhaps glitter for a second skin, something catching light just right to blind the con-artist politicians and suntanned psychopaths looking to make a killing in the socially distanced outdoors.

Sometimes we gotta break down our inner walls just to lay hands on our own hurts.

Clear away the dirty fingerprints left on unfulfilled thoughts so we can polish them to perfection.

Those lights we witness at the end of the tunnel, maybe they’re not cars careening towards us.

Perhaps they’re the shine of our own eyes as we approach one another, promising we’ll get through this.

Rich Ferguson, Conversations I’ve Had With the Walls on One Too Many Sleepless Nights

[Thomas Merton] had left the academic world of New York in order to seek God and some sort of personal overhaul. He was aiming at authenticity, transparency, honesty, directness, egolessness… and yet he learned how the very act of writing — which he couldn’t help, couldn’t give up completely — became a trap for the ego. He talks about it a lot. This was his huge struggle: the need to say what he saw and felt out of the depths of his contemplative experience, to communicate it to others, and to try to make a difference in a broken world, but how writing can become performance that addictively seeks something else entirely: admiration, praise, fame. Just before his accidental death, Merton wrote this about his vocation: “He struggles with the fact of death, trying to seek something deeper than death, and the office of the monk, or the marginal person, the meditative person or the poet, is to go beyond death even in this life, to go beyond the dichotomy of life and death and to be, therefore, a witness to life.”

Merton held up a mirror for many of the struggles I was having in writing and in art and in life, and in that mirror I saw myself, my games, my desires more clearly. The mirror shows the whole room: what we need to throw out, and the bits we should keep, and it’s a process that never ends.

Beth Adams, Hermit Diary 29: On Journals

Monuments relate to thinking, to memory. We want our thoughts to endure–our society, our “own way of life”–to last forever, because we know we will not last forever.

Monuments have the disturbing quality of often belonging to only one group in a culture, however. The victors, or those who wish they had been victors. The victims, mourned. The powerful, because they have the means to build monuments. Monuments can fade from significance; the culture can change its point of view, making the old statues controversial or useless; new leaders can appear.

I am rethinking what I consider to be cultural and social monuments.

Here’s something I love to hear when my head and heart get too full of complicated histories and emotions: Sam Cooke’s “A Change Is Gonna Come,” sung by Otis Redding. *

~~
* [FYI from Wikipedia: “In 2007, the song was selected for preservation in the Library of Congress, with the National Recording Registry deeming the song “culturally, historically, or aesthetically important.”

Ann E. Michael, Monumental

Rob Taylor: Midway through On/me, in the poem“ On Identity/Silence,” you consider what to say after a colleague makes a racist comment about Indigenous people: “deciding if fighting is enough // deciding if education is possible // knowing that i will forever live here / in this space / of in-between”.

So much of the book is about feeling “in-between,” and I wonder to what extent you think of poetry itself as being in-between in some way – a middle ground between fighting and educating, between the “political” and the “personal,” between Indigenous oral traditions and English Literature, etc. etc. Do you think of writing poetry as part of your in-between-ness?

Francine Cunningham: I realized a long time ago that I live in this in-between place and what I do with my art has to reflect that. Growing up it wasn’t a space that I ever read about or that people talked about. I felt really alone in this space. I felt like the thoughts and feelings I was having were not valid and made me a bad person, a bad Indigenous person. I’ve been working with Indigenous youth for close to fifteen years now and it has shown me that I am not alone in this in-between place. I feel like it’s my responsibility to speak about this space for the youth that I work with.

I write fiction and non-fiction too, but I speak about this primarily in my poetry because poetry is where my heart lives. My poetry isn’t filled with rules. I’m not playing with any of the different forms that exist in poetry, I am just writing my heart. That to me is closer to oral traditions of storytelling. It’s about me talking honestly and plainly. For a long time I didn’t think that I was a poet because I could never remember all the rules and different forms, or because my poems didn’t look like or sound like the poems that I studied in English class. I spent years denying all the poems inside me because of this and focused instead on my fiction. But one day it just became too much to hold in my heart, and I let the poems come. And I loved them. I showed some people and they loved them, too. Then I started to publish them and people I didn’t know contacted me to tell me how much my work meant to them. People who didn’t read poetry because they also felt inferior in not understanding the rules. People who felt like, because they couldn’t understand all the vocabulary, poetry wasn’t for them. But when they read my words, they understood them, they didn’t feel locked out. That meant so much to me. Since the book has come out I have had a lot of people contact me saying this book touched them to tears because for once they could understand what I was saying, even if they were non-Indigenous. Accessibility to the arts is important.

Rob Taylor, This In-Between Place: An Interview with Francine Cunningham

“In recent months I have been intent on seizing happiness.”  So wrote C.D. Wright, my guiding star right now.  If you’re naturally happy, you don’t make declarations to be happy.  You throw out an idea, a wild proposition and follow it passionately to see where it goes. If your arm is strong, you toss that net far and wide to pull in both flowers and monsters. 

I’m sitting at Wright’s feet now to gauge those monsters and flowers, but also to hear how, in her poetry, she navigated extremes. She wrote that she was pulled by extremes, as am I, and her selves swing wildly, as do mine.  Mine has a kind of “pessimistic optimism” or “optimistic pessimism” or “radical realism.” I feel that I’m carrying battling twins around on these humid summer days.  Where can I put them except on a page in form that doesn’t have to be resolved? Their form and spirit overseen by kindred spirits that I’ve pulled from my shelves? How lucky I am to have a way that keeps me human.

Returning to Wright, what follows her opening line in the poem “Crescent” about intending happiness is “to this end I applied various shades of blue.”  She then hauls in all kinds of fierce and ironic material examples. She works up into a fierce lather that seems to reflect a sexual fury, a restless rage.  No one lives in a world of our making.  Yet fury at the “system” is freighted with an unabated wonder.  Her material world crackles with straight-ahead fierce wonder at what is.  As she moves through her world, she softens or careens to a kind of balance that places her outside herself, into selfless love and community.  In her final great phrase, she delivers a profoundly earned mantra of illumination, for the road has been exhausting and exhilarating: “draw nearer my dear: never fear: the world spins nightly towards its brightness and we are on it”

“Crescent,” from Steal Away, Selected and New  Poems (Copper Canyon Press)

Jill Pearlman, Flowers and Monsters

For the last couple of weeks, a single peony has held my attention. I’ve watched it as the bud strained to open, then been amazed by the flower’s sudden unfurling. I was almost late for work one morning as I tried to photograph a raindrop on one of the petals. And then I was saddened as it shed its petals under the weight of rain. It’s a strange experience to try and give your attention to just one thing, when daily life is constantly tugging you in other directions. As for the haiku I’ve written about it (below), well, I’m not sure they come anywhere close to my actual experience of the peony, but I’ve been trying to explore what the form can do and be a little looser in my interpretations. Reading Haiku in English: The First Hundred Years (ed. Kacian, J., Rowland, P & Burns, A., Norton, 2016, f.pub 2013) has expanded my understanding of what’s possible within these short poems. It’s a great book, full of little surprises, and it has an enlightening overview of haiku in English by Jim Kacian at the end, which I can thoroughly recommend to anyone who is interested in the development of the form.

Julie Mellor, peonycloudburst

all these haiku‬
‪i keep stepping on them‬
‪tripping over them‬
‪i throw them out but‬
‪they are homing haiku‬
‪flapping around my head‬
‪and in my bed‬
‪and in my tea‬
‪you see‬
‪how much rhyme is missing‬
‪from the haiku‬
‪that also trips me up‬
‪and suffocates me ‬
‪i sneeze‬
‪haiku haiku‬
‪all fall down‬

Jim Young, all these haiku‬

Whichever way you look at it, lockdown is coming to an end in England, and gradually elsewhere in the UK, too. Non-essential shops are open, churches are open for quiet prayer, public transport is running, roads are much, much busier, businesses are opening up although everyone is expected to keep two metres apart and wear a face covering in enclosed indoor spaces. It has been the strangest time I’ve ever lived through and I am still processing what has happened and what is still happening. In the middle of it all, I’ve read books, watched films and TV series, binged on radio drama and audio books, read collections of short stories, poetry and novels. I’ve queued – and I continue to queue – in supermarkets for food and I’ve got used to cooking for four adults again rather than for just Andrew and I. My daughter has finished her degree and is waiting for her results. She is about to turn 21. My son has finished the first year of his degree and is working out how to organise accommodation in London for next year while he is stuck at home in Wiltshire. Andrew has continued to work in his job in software from his office in a shed at the bottom of our garden. I have sometimes desperately missed being alone to write and Andrew has – cleverly and kindly – repaired an old table and moved it into the corner of a shed my son uses for band rehearsals. We are big on sheds in our family – which is a blessing because I love the solitude of my new writing space.

Josephine Corcoran, Once upon a lockdown

My tiny chalkboard poems continue and, apparently, are appreciated by many who read them on social media, as these readers are telling me. I am glad. In addition to sudden chalkboard revisions as I write, I experience ongoing changes in interpretation. I wrote “Last Days” in my back yard, on the patio, gazing in wonder at the beauty of everything around me, and feeling eternity somehow. Inside me was the scary realization that I/we might be living our last days on earth…but, if so, at least they would be remarkably beautiful. And the world could go on without us.

Last Days

Yes, it might be
one of the last days
so breezy and bright,
so beautiful and clear.

The first version ended with two sentence fragments and had three periods. It felt breezier and brighter, therefore, but lacked eternity. Now it is one long sentence, like life. Eternity remains only in the title and at a line break. These may simply be the last days of sheer beauty before rain (needed!) or terrible heat (coming today). Or…these may indeed be my/our last days on earth.

I suspect I’m under the influence of Station Eleven, by Emily St. John Mandel, published in 2014 but terribly pertinent to now, as it’s about the world after a flu pandemic has drastically reduced population and wiped out civilization as we knew it. No grocery stores now, gasoline has expired, no electricity, no phones, no computers. People are making do in settlements here and there. And there’s a Traveling Symphony for entertainment, because, and this is a quotation from Star Trek: Voyager, “survival is insufficient.”

Kathleen Kirk, Last Days

I’m not sure what it’s taken but I’ve started writing again. Not a great outpouring, but something. Maybe it’s been the eclectic reading I’ve been doing.

As well as Mary Jean Chan’s Flèche (Faber, 2019), I’ve read my way through Jean Sprackland’s Green Noise (Cape, 2018), and am enjoying dipping in and out of Darling (Bloodaxe, 2007), Jackie Kay’s selected. I’ve also been intrigued by Adam Nicolson’s exploration of Wilton and the background to Sir Philip Sidney’s ‘Arcadia’, which then got me onto The Elizabethans by A N Wilson which I’d had on the bookshelf for a while. Much to enjoy here, but the author has some angles (shall we say) and turns of phrase that rankled with me. Although I’m on the last chapter I don’t think I’ll finish it as there are just too many references to how Elizabeth had become ‘old and yellow-toothed’ and so forth. A queen who had achieved so much during her reign, being denigrated for the sin of growing old and thereby losing her looks doesn’t sit well with me. Funny, that!

I’m getting very interested in the ‘Sidney circle’ and the whole pre-Shakespeare Renaissance literary scene. In particular I’m starting to dig out more about Mary Herbert, Countess of Pembroke, by all accounts a fine writer, but who tends to be described in terms of a) her more famous brother and b) her generous literary patronage.

Robin Houghton, Getting all Elizabethan, new writing and emerging from the gloom

At the Field Museum in the fall, an audience member inquired whether I thought myself a nature poet, but maybe I am as much as any girl who spent her life growing up in the boonies of both Illinois and Wisconsin, but who was in love with the sea.Who wanted to be a scientist to study those depths. As an artist, I fall again and again to landscapes and botanicals.  Though I am probably more in debt to the supernatural than I am the natural. I feel, as I’ve been working on dark country, that this is at the forefront, but it’s been there all along through the other books I’ve written.  Even sex & violence has its ghosts–my own past relationships, Plath herself, Dali’s little blue dog. 

And in many ways the writing is a sort of exorcism of ghosts, of stories, of the past dusted off and made shiny and new. I’ve been thinking of this as I look at the newest completed manuscript, feed, and how it was a writing out, a bloodletting in the year after I lost my mom. There are so many ghosts there, literal and just my own metaphoricals.  Or maybe less an exorcism and more of a seance–a speaking to and with the dead, either others or the self you left behind at various points of travel. 

Kristy Bowen, poems and ghosts

Christina Sng’s collection of poetry, A Collection of Dreamscapes, blends dark fantasy, science fiction, and horror, examining the many-faceted aspects of women, from their hopeful dreams to their shadow selves. These lyrical poems offer tale of “women who hide behind the taste of poisoned apples, who set themselves on fire, who weep at riverbanks, the taste of freedom too much to swallow, too heavy to bear.”

Andrea Blythe, Culture Consumption: May 2020

Over on his ever-excellent blog, John Foggin has revealed the names of the poets behind the 26 ‘When All This is Over’ poems chosen, out of 80 or so which were submitted, for publication in a Calder Valley Poetry pamphlet. Like many great ideas, this project has a perfect simplicity to it, and it has been a real pleasure to be involved in it. To be one of the 26 in the pamphlet, among some wonderful poets, is a lovely bonus.

I won’t single out any of the amazing poems except to say that the title of Sue Riley’s marvellous ‘The Cats’ Meat Man’ reminds me of a saying of my dad’s – “Quick, quick, cats’ meat!” – the derivation of which I can’t recall him ever explaining. I suppose it was just that if we didn’t hurry up doing whatever it was he was geeing us up to do, we would end up as cats’ meat. Or something like that!

Matthew Paul, John Foggin’s When All This is Over project

–If you came to this page hoping for an analysis of yesterday’s Supreme Court decisions, head over to my theology blog to read this post.  What a pleasant surprise!  I predict that when historians look back on the great Civil Rights decisions, this one will be much higher on the list than the marriage decision from a different June in this decade (2015 to be precise).

–For those of you who are literary minded, you may have come to this page thinking I would write about James Joyce and Bloomsday.  I have done that several times in the past; after all, I wrote my MA thesis on women characters in Joyce.  I plan to tune in to this YouTube channel from the Symphony Space folks to see people reading chunks of Ulysses throughout the day.

–It will be very different from a long ago Bloomsday, when we had recently moved to South Florida, and went down to Books and Books to hear people from the University of Miami read from the book.

–I think even further back to my grad school days, relaxing by my apartment’s pool, reading academic books as I wrote my thesis.  I miss a lot about those days:  my youthful body, my youthful enthusiasm, the luxury of time to read hefty academic works.  But there’s much about my current life that I didn’t have then:  financial resources, self knowledge, confidence in my creative skills, a more mature faith.

–Most of all, I miss the certainty that I had then that my best days were still to come.  I had just finished a year of teaching classes, classes all my own, not just as a teaching assistant.  I knew that I was doing what I was put on earth to do.

–In contrast, yesterday I saw 2 students throw their arms around each other and hug as if a war had kept them separated.  By the time I was about to say, “Please stay 6 feet apart,” the moment was over.  I thought I would spend my working life discussing great works of literature, like Ulysses, but instead I’m the middle school dance chaperone, monitoring physical distance and breath.

Kristin Berkey-Abbott, Days that Bloom

Lines found in my Twitter feed on the summer solstice

this zombie world
see what it looks like
share the urban space

a whole family of dead cats
at least four of them
in a tub of rainwater

who decides?
who’s in control?
there’s nothing for me

I’ve missed you
unless you’re a heron
dreaming of your great escape

a little tree
raindrops in grass
will lead you back home

feeling brave
heading north
thanking the universe for Bob Dylan

Ama Bolton, Summer solstice

My dad’s father, grandfather John, by all accounts, was not an affectionate man. My dad was, but he found it hard to show it, spontaneously. He wasn’t cold, or distant. But something in him was withheld. This is just to say, ‘I love you, Dad’.

What remains

How do you know that this is love? Is it
the moment that draws you in, the saving stitch?
One moment out of all the moments,
out of all the wrong notes, the missteps.

Because I thought he didn’t know the way of love,
didn’t know the tune, the words, 
they were what other people spoke,
they were borrowings, and he wasn’t one
to accept with grace, always on guard. But

he’d go out, not saying where, come back
and give his grandchildren each a Marathon.
He wasn’t a man to pick up a child
so a child could slip into his shape
as cats do. A silent gift of chocolate bars
was him articulating love.

What they remember of him, my children,
what they tell of him, is Marathons.
Remember when our granddad gave us Marathons?
What remains of us might just be love
but the story’s always Marathons.

John Foggin, For my Dad on Fathers’ Day

When I first heard this poem [“Invitation to Brave Space” by Micky Scottbey Jones], I was in brave space. Invited into it, with no map and no plan. It was scary and exciting.

There we were, sitting round the fire, exchanging hopes for the year, the coming season, our dreams.

Forty of us, including children, a long weekend of wild walks, getting soaked, of pub grub, deep listening and intentional turning up to say what was on our hearts: mobile phone addiction; climate grief; post-election anger; mental health.

Of eating together and silly games. The preparation and clearing away of food. The pouring of wine.

Right now is a still silent evening on the longest day of the year. (I resist the thought of the darkness rushing up to meet me.) Back then we were still getting knocked around by February. How we laughed into that wind, that downpour. There were rumours of a virus, but not here, surely, we said.

I was in the brave space. I talked about some deep and hidden things. Very slowly I learned to stand in my truth.

I am trying to stay there, but it is not easy.

Sit down with me a while. The sound you can hear is my breathing. It’s ok, you don’t have to say anything.

Sit with me a while longer. I am not feeling brave, but let’s explore the space together.

Anthony Wilson, Brave space?

Poetry Blog Digest 2020, Week 24

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.

It was easy to feel a little gaslit this week by politicians and an increasing percentage of the public acting like the need for social distancing and other safety measures is over; in the US and the UK, at any rate, the covid infection rate shows little sign of slowing. Many in the poetry blogging community shared this unease, as well as cautious optimism on social justice issues. Writing continued to be elusive for some and a lifeline for others. Mostly, I was just pleased to find so many like-minded souls. La lucha continua!


I said to some friends: it is like playing Monopoly. You pick up a Chance card which tells you to go to Mayfair. (At which moment, you may win or lose the game.) ‘Do not pass Go. Do not collect £200.’

You have to go straight there. You cannot delay. You cannot take anything with you. There is no time to say goodbye.

You have to leave right that second.

There is no time for sitting with the trauma and the loss and the grief of the moment because what is needed right now is a solution for how we are going to [insert your own thing in here] and plan for [insert] and cope with [insert].

There is no time.

No time for grieving. No time for sitting with it, for preparing to bleed.

Anthony Wilson, Do not pass go, do not collect £200

Fool if you expected silence,
or thought that the trees would be empty.

But the contrails have gone and the big roads
are all but deserted. I don’t hear the kids
with their acrobat bikes and clattering skateboards.
And no Mr. Singh (“Call me Ajay”) with his deep,
deep voice over the parcels and stamps. All the buses
are empty when they stop at the curbs.
Are they discharging ghosts?

Dick Jones, LOCKDOWN

One of my daily chalkboard poems was about masks. So was another, one I chose not to put up, as it seemed too harsh and might upset the mail carrier. But you can probably handle it:

Unmasked

If you don’t wear a mask         
you reveal who you are

in more ways than one.

It is a little mean and glib. (And, oddly, it reminds me of a line from one of the Batman movies.) But, really, that’s what’s going on around here, out there, many people not wearing masks, thinking it’s all over, we’re all OK. Friends and co-workers are experiencing it out in the world and are worried. My parents decided not to go to an outdoor restaurant with friends when they saw how crowded it was, how few people were wearing masks, how some were sitting indoors… I’ve only seen my parents four times since March 13, in their back yard or their huge great room, six feet apart. A friend from Chicago came to town, and I visited with him outdoors and at the proper distance, no hugging. […]

Sigh… Yes, constant chalk revisions of our very lives. Chalk circles now on park greens to designate areas to sit in the sun. But don’t be fooled, the virus hasn’t been erased.

Kathleen Kirk, Chalk Revisions

I seem to be having lots of conversations about how the world is changing as we emerge from lockdown, about how our lives will never be the same and yet at the same time we are supposed to carry on as ‘normal’. Of course, many people are still isolated, cut off from friends and family, the wider community. My experience of lockdown has been much easier. In fact, now I’m back at work I’m missing all the free time I had.

Then there are those conversations I only have with other writers, about what poetry can and can’t do, about how we should respond to current events. In terms of creativity, I tend to try and carry on regardless. The world is a fascinating place, even in times of hardship, even in times of great trauma. It will always provoke a creative response in me, although the form of that response is ever-changing. I have a second draft of a novel that still needs more work, I have a short story that I know I must go back to, if only to satisfy myself that it can be finished, and a file of haiku of which a handful are probably good enough to send out. Oh, I also have a few sketches that are embarrassingly bad and are unlikely to ever see the light of day! What I’m getting round to is that being creative has helped me through lockdown. It’s given me a purpose. I like to be active, to be doing something. Writing is a great way of ‘doing’ because it doesn’t require much space or many resources. A pen and a piece of paper and you’re away. It’s affordable and portable. It does, however, make demands on your time. You have to commit. And there’s no guarantee of success. Time. Commitment. Failure and rejection. Small moments of success. These are constants.

We are living in a very unsettling period. There’s a general feeling of apprehension. And yet the impulse to write is still there. And for that, I’m grateful.

Julie Mellor, A changing world

–It’s very strange to have spent the months of March, April, and May reading about disease in general, COVID-19 in specifics, and some general apocalyptic works of fiction, and then to see states re-open and people gather with and without masks, with seemingly no care in the world. I’m still asking myself if any gathering is worth the risk. Grocery stores–yes. Spin class–still feels dangerous to me, since my spin class is held in a gym that’s in a hospital. Protest marches–much too dangerous, all the chanting and yelling in close proximity. Of course, that’s all from an epidemiology point of view–there are other points of view, like the need to demand social justice, the need to be with humans, the need to restock, the need to take care of oneself.

–I am also struck by how our students are responding. Everyone complies with the rule that masks must be worn, but many of them can’t seem to keep them on properly. And then there are a few students who have not only a mask but a face shield and gloves.

–NASCAR has banned Confederate flags and imagery. This moment seems like a real turning point somehow, even as I realize it won’t be a teaching moment for many NASCAR fans (either because they already understand the importance of it, or they will never understand).

–These types of shifts on race make my head spin. The polls that show a huge shift in attitudes towards racism and policing–it’s a shift that seems similar to the shift towards approval of gay marriage almost a decade ago. It feels like it happens overnight, but I know it’s because of years and decades and centuries of hard work, shifting those attitudes one by one.

Kristin Berkey-Abbott, Days of Cognitive Dissonance

Beyond where I live, two (invisible) pandemics become visible. Daily, I am distraught by what is happening. I wish for a cure, and know that a cure comes about when we care for each other.

I listen to the news, like three doses a day. In between, I am outside working in our three gardens, or preparing reports, or courses, or writing to keep me centered and calm, because I feel overwhelmed by the hardships people are facing daily, in cities and small towns, across our country. Reports are saying the death toll from Covid-19 will reach 170,000 by October, 2020. That number is staggering and frightening, knowing the cruel way this virus work. Equally, moving into 18th day of protest in some cities means “Enough is enough.” Things have to change. Things are changing.

I had no idea, (truly) no idea, that the Army bases in the United States were named after Confederate Generals. I was stunned by that revelation this week. Why would the Army honor the Confederate Generals? It’s a strange contradiction, seemingly supporting a Confederate mindset; and, it’s been an “under-telling” narrative for years.

M.J. Iuppa, Vistations and Dreams, June 12, 2020

No baseball has been played. I filled my gas tank once, I watch thousands of protesters on TV. I saw too many fires and broken windows. I watched too many incidents of police swinging clubs at people, pushing to the ground, spraying chemicals at protesters, I grieved for people hurt and those killed. I grieved for families that lost loved ones. I wrote most nights. Failed to get enough walking in, thought about yoga but did none. Grilled BBQ stake. Had a root bear float at work. Wore mask up in public, washed and rewashed my hands too many fucking times. All this and more since my last confession a week ago.

I confess that I do not know what day of the Covid-19 pandemic it is, I just know we are no where near the end. Last I saw there were 786 related deaths in Missouri. Nationwide deaths exceed 114,000. I saw today that there are flair ups in Texas and Mexico. People aren’t exercising social distancing very well and I totally expect that we will have to go through another shut down.

Baseball is my go-to to pull me out of the winder doldrums and into the spring then summer and it just makes life remind me of poetry and brings comfort. I confess I am struggling for this comfort.

I’m awaiting some poetry books and I’m really bad at waiting for books to arrive. Amazon has spoiled me, but. I do order elsewhere and I still want them yesterday. Is this impatience a sign of a character flaw?

Michael Allyn Wells, Confession Tuesday Spontaneous Combustion Edition

I was initially afraid that we were all just shouting booklists at each other, but it turns out books related to BLM are selling out. That’s reassuring.

I keep thinking of this Tweet by Charles Blow: “Anti-racism is so hip right now. Yay! But, don’t let it be a fad; make it forever.” It should be just the basic level of what being a human is but we know that IRL it’s otherwise.

Of course, if as a white person you’re finding all of this wildly stressful, then you are feeling only a tiny fraction of what BIPOC feel all the time. So I keep thinking, let us not tire, let us not let up, and let us pledge to be in this for the long haul.

I was pretty exhausted by the Covid-19 situation. And I’m not any less so now. But I’m trying to keep alert, too. I think if we just each quietly did something positive, whether that’s buying a book and learning more about anti-racism, to donating money, even a small amount to a good cause, this can be something. If you live in Edmonton and want to support an Indigenous organization, I’m very fond of the Edmonton Native Healing Center and here is their donation page.

Thanks for reading, and looking at the photos from my backyard (which have nothing whatsoever to do with this post!), but where I’m spending a fair bit of time thinking things through these days.

Shawna Lemay, Let Us Not Tire

In these lengthening days
it’s easy to feel that we
are past any danger. The idea
of crowded hospital beds
and makeshift isolation tents inside
stadiums sounds like a bad fairy tale,
until the angel of sickness walks
across your threshold and sets down
his luggage. When he hangs up a towel,
sets a worn toothbrush on the sink.
you know he’s there to stay
a little while longer.
Even so, he is not the enemy.
Without any special malice,
he is only doing what’s in his nature.
But the enemy took ships across the water
and returned with shackled bodies
loaded in the hold. The enemy
cracked a whip across the fields
where our people bent over beds
of garlic and strawberries.
The enemy is a bullet
that will take out your eye
or stop your heart even when you’ve
knelt on the ground as instructed.
The enemy is a god unto himself.
It shows no mercy but fears
every dusky body running
and playing in sunlight,
numbers of them walking now
with a single purpose across the land.

Luisa A. Igloria, Enemy

erect a statue 
to the statue topplers
and topple it

Jim Young [no title]

You may or may not, if you live somewhere far away from Seattle, have been getting reports – mostly false – of chaos and crime and uproar in Seattle. But for the most part, we are all fine here. Hearing that Fox News doctored photos from Capital Hill’s protest zone (See: WA Post’s story here) didn’t surprise me, but I had to reassure people who don’t live here that things were mostly operating as normal, that I had friends going to the protest zone where people were sharing food and doing poetry readings, you know, truly revolutionary behaviors. Artists drew a beautiful mural spelling out “Black Lives Matter” on the street. Ah! Chaos! So you don’t need to worry about us here, and you definitely shouldn’t support sending in the military. As Han Solo said, “Everything’s fine, we’re all fine here. How are you?” […]

I’ve been talking about the defunding the police all week, and this made me think about other corrupt systems, and how we correct them, and if necessary, dismantle them. Does this make me a revolutionary? I think few people would consider me a radical, but the corruption and bias of the police is a big problem, and I don’t think “reform” is enough. At least it hasn’t been enough over the last, oh, I don’t know, 100 years. Besides racism and sexism (talk to me about how the police handle rape and domestic violence cases, in case you want some horror stories), corruption of power, problematic protections by a corrupt police union, the militarization against citizenry, and questionable immunity status…how do you reform the system of policing? Judges, sheriffs, mayors…we vote for them all. Are we holding the people we vote for accountable enough?

And there were aftershocks even in the poetry community. The Poetry Foundation had two resignations. Outrage against editors and publishers bloomed all over social media for offenses minor and major. The discussion of how much writers get paid was also a hot topic – of course, for poets, all mostly a theoretical discussion, getting paid, but interesting to see the disparities nonetheless. Do we hold non-profits and groups who support the arts to the same standards we hold, say, corporations or government entities? Is the literary publishing world as messed up as, say, the educational system (which many would say also needs a little dismantling at this point for its inequities)? Who are we holding accountable, and why? How do we build a better world, the world we say we want? A world that treats people equally regardless of race or gender or (dis)ability? How does that begin? The status quo does not seem to be working for the vast majority.

I often feel like an outsider here in America. After all, I’m disabled and chronically ill (which numerous Americans lately have been indicating makes my life worthless, in the face of the coronavirus) and a woman. I’m white, but I’ve witnessed enough racism to believe that yeah, it’s still a problem that did not magically get erased somehow in the last fifty years. Then there’s the issue of social and economic disparities that appear to be getting worse, not better. So how do we make America better, fairer, a place where everyone can actually have a chance at the American dream even without being born a healthy white heterosexual male?

Jeannine Hall Gailey, The 13th of Juneuary, Seattle is Probably More Peaceful Than You Think, Being Sick and Considering the Dismantling of Corrupt Systems

It’s useful to remember that when people like me call for the abolition of the police, our proposal is not “leave the world exactly as it is except without the police.” The idea of police abolition goes hand in hand with the idea of communities taking care of the basic needs of their people. No baby is born to a life of crime. Instead, babies are born into a world without adequate shelter, food, education, leisure time, arts, communal structures, play, and all the other things that make life worth living or even possible in terms other than mere existence. As long as we continue to allow our society to work at the whim of corporations and the wealthy and the powerful, there will always be a need for an armed force to enforce those whims. When I say “get rid of cops,” I also mean “take the money we use on cops – whether here inside our borders or via our armed forces – and use it to build a better world.”

Jason Crane, What I Mean When I Say “Get Rid Of Cops”

When I decided to go quiet,
was the time I should have been speaking out.
When the screens started going dark,
black voices said to offer lifelines.
When I wanted to write,
I knew my voice wasn’t one that needed to be heard.
I couldn’t watch the violence any more,
but can’t turn away any longer.

Gerry Stewart, Apologies for My Lack of Response to Current Events

It’s easy to understand why people would want to avoid the topics of privilege and of systemic racism. We are taught to be polite; one of the social contracts I was urged to respect was to keep conversation friendly, to avoid religion, politics, and other hot topics in order to get along with my neighbors and coworkers–to maintain friendships with people whose perspectives are different from my own. This approach does work, to a degree. Politeness, though, is not the same as compassionate interest and doesn’t always encourage listening and reflecting.

So it stops the conversation just when the conversation might be getting interesting. Or difficult. I have seen this play out in the course I teach time and again. Some students try to mediate as soon as a disagreement starts. Some tune out; some get embarrassed; some shut it down. Some talk to me after class, individually. Only a few times are my freshmen confident and mature enough to speak up assertively but in a way that admits of, and permits, other points of view.

That behavior is what I try to teach and to encourage. We need to admit of other perspectives rather than keep comparing this with that or bring up side arguments or shut people down with ad hominem attacks. That means ideologically “liberal” people also have to listen and to allow opposition, by the way. I teach in a fairly conservative university; and as a rather unconventional thinker in that environment, it can be a challenge for me to let students express views with which I disagree. But that’s the point: to listen and try to understand, and then to show where the argument goes awry–if it does–and acknowledge the validity of the stance, as there often is some.

Ann E. Michael, Just speak

I’ve been extraordinary fortunate with [dancing girl press] in that, with such a large number of submissions, I have a healthy number of manuscripts coming across the desk–a variety of ethnicities, backgrounds, gender/sexual orientations, subject matter, experiences. Others come to me through recommendations of other writers or happenstance. I can usually find a decent percentage of writers of color whose work I want to publish, but of course, there is always more work to be done if you truly want to reflect the breadth of work and decenter the glaring whiteness of the publishing world. And these are what I’ve been thinking about in the past couple weeks as this is on everyone’s mind and publishers are examining how to do things better in the future–how to welcome more writers of color, particularly BIPOC into publications and presses. How to find those authors, because they are out there, and how to bring them to the forefront of publishing efforts as an industry (which includes the biggest of the large publishers down to the tiniest of the indies). And specifically, how I can make those things manifest through dgp, where while we do get to publish a somewhat diverse list, it seems like there is still more work to be done to have a chapbook series that truly reflects population percentages in general. I’d like to do a bit more soliciting and maybe pushing POC authors to the front of queue and making them a priority this summer. In the meantime, also championing and promoting the work of writers we have published is a useful thing as well. More soon on this as I mull it around…

Kristy Bowen, decentering and publishing in the era of #blacklivesmatter

protest hate / love peace—

this battle waged on bloodied american soil / countless bodies converging in cities all across the country / human spirit refusing to become collateral damage amidst systemic brutality and oppression / see the courageous display what happens to equality long-deferred / it doesn’t go quietly to the back of the bus / it explodes out onto the streets / enduring bullets, brawls & pepper-spray halos to get its message heard

do not / protest love / hate peace

Rich Ferguson, It’s All in the Way the Words are Arranged

I’ve never had much talent for hope, and what hope I’ve managed to summon tends to get squashed. It’s a feeling I’ve learned to distrust. Yet widespread public outrage at police assaults to Black lives and dignity: it springs from that four-letter-word. Protests and anger, imply at least some tiny spark of faith that the world can change.

I’ve been trying to write more poetry from and about hope during the past couple of years, and one of those pieces, “We Could Be,” appeared recently in About Place: Practices of Hope. I’ll be reading it–and listening to some of the other fabulous contributors–in a group reading today, Friday 6/12, at 7pm EST on YouTube Live (details above). I find poems of joy, hope, gratitude, and love hard to generate. For me, poems grow more readily from complex, often negative, emotions and situations: conflict often powers the turn or volta that makes a poem surprising; ambivalence and ambiguity somehow sharpen the language (I’m not sure how that last process works, but I certainly feel it). “Unsonnet,” a poem of mine recently published by Ecotone and reprinted by Verse Daily, operates in the latter mode of darkness and uncertainty. It comes from grief about my son growing up and getting ready to leave for college, and it ends not with optimism but denial and a wish to turn back the clock. I like the vivid language of “Unsonnet,” a poem that came relatively easily last spring; I started “We Could Be” four years ago and revising it was monstrously difficult. I don’t know if one is aesthetically better than the other. But the way the latter poem puts hope out there does seem ethically better. (Those are fighting words, I know, that poetry can have an ethics, but I think it can. It’s just slippery, as language itself is.)

Lesley Wheeler, Practicing Hope

For the last two days I’ve been reading Koon Woon‘s Water Chasing Water (Kaya Press, 2013) and feeling my own heart swell upwards as if on a rising tide. Other reviewers have described him as a “writer of solitudes,” but I love the community Koon Woon invokes in almost every poem. I love his poems for his father, poems about sleeping under bridges, about the Chinese waiter reading Nietzsche and dreaming a writing life into being. In this time of madness and isolation, he gives me hope.

Bethany Reid, A Poem and a Writing Prompt

You might hear them before
you see them, the sign says
but we still look up

a little like the way we hear
the voice of our own conscience
or our fears, and look around

for a sign that might convince us
to take that first step forward.

Lynne Rees, Skylarks ~ a poem

I had a lovely phone conversation yesterday with my long-time writing mentor. We mostly communicate via e-mail, so it was great to connect over the phone. We chatted about a lot of things, but a great deal of it was about literature, which was a treat for me. This person is extremely knowledgeable and passionate, and the conversation transported me back to feeling like I was in college again and listening to a professor wax poetic about the beauty of language. I realized that I just don’t have those kinds of conversations anymore. I haven’t in years, and it’s really a shame. I didn’t realize how hungry I was for it. I don’t have anyone in my day-to-day life to talk to literature about on that level. And my reading habits have gotten very lazy. Reading for me has become just a way to unwind before bed, rather than an experience of delving deep into a rich work of art. I’ve read a few heavy novels here and there, but it’s mostly been literary junk food. I made a semi-resolution on this very blog several years ago to read one classic a month, and I never followed through. I think it’s time to dust that resolution off and give it an honest try this time.

Kristen McHenry, Poor Soup Outcome, Literary Hunger, Plug-and-Play Genius

I’ve made a poem collage for  the Begin Afresh Campaign for Poets for the Planet  following their open call for poems which reads as follows:

Poets for the Planet warmly invite you to join us in writing poems on the theme of ‘beginning afresh’.

We are calling for poems that respond to the need for change. How must the world change as we come out of lockdown? Is there anything we’ve gained from lockdown that we should hang onto? What do we need to let go of? We’d love you to share your poems of no going back, starting again, turning over a new leaf, letting go.

My contribution includes daisies, buttercups, common knapweed and yellow hawkweed – wildflowers which have grown in our back garden since we stopped mowing it.  The #NoMowMay and #NoMowJune campaigns encourage people to leave their lawns alone, so encouraging weeds to flower and provide a greater source of pollen for bees and other pollinators, and habitats for more insects and other garden wildlife. This is one small change I’ve made with my family  – not just in the lockdown because we also did this last year, influenced by this article by Alys Fowler in The Guardian – but the lockdown has made me even more aware of my desire to do more to care for our planet.  Not mowing the lawn is my very small gesture of starting afresh.

Josephine Corcoran, We found the O My! in No Mow May

I played her the song on the way home and then promptly forgot about it..until earlier today when I heard it coming from her room. I was pleased, checked my dad privilege and then got on with enjoying it as a moment. As is often the wont, that’s a poem, I thought. There’s an idea there, however shite, it’s an idea, but how to get anywhere near writing down the history of how we got to that moment (especially without referring to Beckenham Tescos) and without making it sound like I’d made her listen to it. It felt like a tall order (even once I’d navigated the internal monologue about whether it was a shit idea). And to be honest with you, I’ve got this far into this post without really knowing what my point is other than thinking that I see lots of posts about the poems we have written, the poems we didn’t write, how to write the poem we didn’t know we wanted to write (via prompts), how to edit the poem we have written (for example this great one from today by Natalie), but I can’t recall seeing one that talks about something from the moment of conception, how it got that far and whether it should then carry on.

To be fair this isn’t that post either, but it’s potentially a marker in the sand (another Pearl Jam song, as it happens) for the future. If I get beyond my internal wrangling about how to even start it and if I should start it I’ll let you know. In the mean time, I’ve linked to a few great songs on the way.

Mat Riches, Is Whilst

The farm-cabin is not for everyone–the closest any kind of restaurant is 20 minutes of driving through fields, there’s only phone /internet signal if you sit on the porch at the right time of day, and the view is fields and more fields. But for us this is perfect–we’ll only be a couple of hours away from our girls (and my generous mother who will be caring for them) so we could get home in a hurry if need-be, we’re not too far away from the hospital if I went into surprise early labor, and we actually enjoy quiet isolation and have our own writing projects that we’ve been slogging away on inch by inch. […]

I wonder too how with the state of the world if it is the right time for either of my areas of interest in my manuscripts–what do poetry readers need and want to read right now? The oppression of nuns and the mourning of a baby? I don’t know. I suppose I can’t help but write what feels important and alive to me. Perhaps these are questions to ask myself during the weekend at the cabin.

Renee Emerson, Preparing for a DIY Writing Retreat

I grieve for my finished unfinished manuscript. Ten years worth of research and scrawl that feels stillborn now even though it is still alive still kicking dust from the molding with its tiny shoes in the office of a publisher. I feel guilty for my grief for giving into it in such a powerful historic moment decade.

I stack my unread copies of the Paris Review in numerical order on the child sized roll top desk from which I used to teach pretend school as a small girl believing that one day I would actually be a true student. I’m afraid of opening them. The smell of fresh ink makes me high. Mimeograph ink was my first drug. I would shake when I held the damp slick test paper gentian letters swimming into my malleable brain.

Since the plague I’ve been afraid to turn on my pc where my manuscript lives. I tell myself the boxy computer is going to be dead or the monitor ultra bright wavy constant updates whirling away the white mesmerizing circle on the blue field Word won’t allow me access my pages will come up as Read Only and I won’t know how to fix it my story will be broken even though I have four copies maybe more in my email. It feels like sickness.

Rebecca Loudon,  Sarah Manguso wrote in the Paris Review “ How far along are you? people will ask of your book

Here I am, showing up, doing the thing I’ve assigned myself to do.

I feel a little hollow, scraped out. Writer’s block is when you have the words but can’t release them. They’re trapped behind a wall. I think I’ve got writer’s drought. Lots of arid sky in my head, dendrites dry as August dirt.

Tears came easily this week. Thursday, I had a panting, sweaty meltdown: droplets spattered everywhere. I thought some physical work would make me feel better, but instead of dissipating a persistent ennui it activated a wet rage. (At least my garage and yard look better.)

I have nothing worth saying today. Feel as if I have been swimming and swimming in everyone’s torrent of words for weeks now, and all I want to do is lie still on some shore and dry out a bit.

Rita Ott Ramstad, Showing up

In the end, COVID-19 covered the earth like a blanket covering a small and trembling child. This virus filled the sky as if it were smoke from a tremendous fire, a fire that burned for a thousand years. It flowed with swift rivers and filled the oceans. Entire oceans of COVID-19. We are simple people. We touch the virus, we breathe the virus, we wear the virus like a suit of the finest silk, perfectly cut to fit. And so now we embrace COVID-19. We embrace death. We are Little Red Ridinghood embracing the wolf at last. Come. Let me hold you. Die with me tonight.

James Lee Jobe, In the end, COVID-19 covered the earth like a blanket covering a small and trembling child.

We get to wholeness and peace both by pursuing justice with all that we are, and by surrendering to everything we can’t know about how we’re going to get there from here. It’s not an either/or: it’s a both/and. If we wait until we feel fully ready we might never act at all, and, if we imagine we know all the answers we’re guaranteed to be wrong. We need humility and chutzpah.

“Not by might and not by power, but by spirit.” The Hebrew word for “spirit” here, ruach, can also be translated as breath. I find a message in that for our current moment too. We reach wholeness not through pursuing power, but through ensuring that everyone can breathe freely. When all of God’s children can breathe, that’s wholeness and peace. 

Eric Garner’s last words were “I can’t breathe.” George Floyd’s last words were “I can’t breathe.” Racism, like coronavirus, steals the breath. Just this morning we sang nishmat kol chai — “Breath of Life, the breath of all that lives praises Your name.” We name God as the Breath of Life. When a human breath is diminished, it’s as though God were diminished. 

We don’t know when the cloud will lift — when justice will roll like thunder and righteousness like a mighty stream. (Amos 5:24) We don’t know when the cloud will lift — when the pandemic will end and it will be safe to return to the world again. We only know that right now, we’re in the cloud. It’s hard to see how we get there from here. But that doesn’t exempt us from trying.

Our task is to protect ourselves and each other during these pandemic times. To end racism in all its forms. To cultivate the chutzpah of believing we can make the world a better place alongside the humility of knowing that we don’t have all the answers. When the cloud lifts, we move forward. When the cloud doesn’t lift, we do what we can to build justice right here where we are.

Rachel Barenblat, In the cloud