Poetry Blog Digest 2021, Week 7

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: a hodge-podge of delightful and challenging posts that nonetheless seem to converge on a single point, or cluster of related points, though at the moment I’m too tired to work out quite what that might be. Enjoy.


The big conversation that the world is having. Human voices are only the tiniest part of it. Zipper of crow flight against the white blank sky. Syllables of sea birds that float, read left to right, right to left, moment to disappear. Alder branch hashmarks over a smudge of obscured sunlight. Blue slash of shadow, so sharp it cuts you.

In the preface of The Way Winter Comes, Sherry Simpson writes, “The more you looked, the more you saw, but you could never see it all.” The poet Jane Hirshfield says, “Everything changes. Everything is connected. Pay attention.” Two voices that I love speaking to each other over time. I walk along the beach, cobbles shifting beneath my feet. I am watching a group of seabirds continually rearrange themselves in a line. They go beneath the waves and then resurface. Dot dot dash. Dot…… dot. Dot.

Erin Coughlin Hollowell, The big conversation that the world is having

The point from the start was to figure out how to live. Some people grow out of asking “why? why? why?” — with infuriating persistence — in toddlerhood. Not me. Partly no doubt because my parents strongly encouraged curiosity, so I generally felt I was a good boy when I inquired. And then, I had a rare father who could actually tell me why the sky was blue, and what held the Moon up, or what was really happening in Southeast Asia. But mostly because what you don’t know can cut you off at the knees, and often does. It’s pure self-defense to know as much as you can, about everything you can. You have to look after yourself, in this life.

But you end up studying yourself in the mirror, and seeing a strange, inquisitive face examining you, with great attention, although maybe not with overflowing sympathy. The eyes overlarge, and the belly swollen with — promise? Or what? You tell me.

How to live: which includes what to do with your days: maybe boils down to that. Certainly how to hold your days up to the sun. (Or up to whatever sky God gives you.) 

But first, anyway, you have to slow down and quiet down, until you can hear the drip of the snowmelt and the grooming of the cat and the shift of the heat exchanger. More haste, less speed. 

Dale Favier, Mahamudra

I don’t think the world has ever been less messy than it is now. That the struggles and cruelties and hates haven’t always been there… somewhere. But there’s also been space for refuge. Not ignorance, but rest.

A little space for all of the tiny creatures that make us who we are to thrive again. And rise again. In a world that’s not a matrix, not a thought experiment.

What I yearn for now may well be something we yearn for more as we age, but it is oddly familiar to what we were given naturally — what we allowed ourselves — when we were very young.

cut roses drying
in the vase — fragments of dead
leaves turn to powder
wedging themselves in the grain
of this old oak writing desk

Ren Powell, What I’ve Learned in the Pandemic

Last week I noticed a poem shared by Blue Diode Press on Twitter. ‘Meditation’, by Eunice De Souza, appeared in the collection A Necklace of Skulls: Collected Poems (Penguin).

The poem’s first two lines leapt out at me:

The lonely ask too much and then
too little

I love how the form reflects its content: how these two lines mirror what they’re describing.

All those words (relatively) crammed into that first line, in haste and at too great length; only to fall away into the sad stump of the second. 

How differently it would read if the line break fell in the obvious place – after ‘too much’. I really FEEL it this way.

I see a baby who cries and cries, then gives up crying.

I also think about ideas I’ve explored before – people thinking they know what they want (read ‘lack’) but that familiar yearning masking an ambivalence, or terror. 

I explore similar concerns myself – to all of these – in The Girl Who Cried.

Because I can feel I’ve spent my life rushing towards people, then retreating. Asking ‘too much and then / too little’.

So there it is: the magic. 

A whole lifetime’s dilemma distilled – understood, reflected back – in two short lines of poetry.

Charlotte Gann, TWO SHORT LINES OF POETRY

I remember in grad school hearing that one of my teachers would sometimes take sizeable breaks from writing — six month, year long, insane (to me) breaks from writing–but she still managed to be Louise Gluck, so I suppose it did her no harm.

I have one manuscript languishing for a publisher (I finished it at a difficult time in my life so did not send it out for the longest), one manuscript recently completed (all about that difficult time in my life and emotionally challenging to write), so now I feel like I might need a bit of a breather from poetry.

That time between projects–because I tend to be a project-type of writer–has historically been a bit panicky for me. What do I do next?! I think, biting my nails. But this has been more like…Do I write another grief poem? Ugh. Do I write historical persona like I once loved? Double Ugh.

So I think it’s time to let the field lie fallow, so to speak, until it feels like it’s time to dive in again.

Have you ever taken a writing break? What was it like?

Renee Emerson, Shelving It

I haven’t been writing much. This is not unusual for me. I go for long periods without writing much, or writing little bits that I discover later, or writing quite a bit only I haven’t noticed it. Mostly these days the notebook sits closed. But I’ve been willing to paint. Maybe not with alacrity, but I’m more likely to open my little sketchbook than my notebook.

I’ve been painting mostly from photographs, even though I know from my artist friends that that is frowned upon, although I’m unclear why, but one friend is Rather Stern about it. So I do it anyway, but feel guilty about it, which I figure makes it okay.

Marilyn McCabe, Kiss me on a midnight street; or, Creativity and Letting Go of Control

Hard to believe that this photo was only taken last Friday- this afternoon it’s been about 15 degrees warmer. Interestingly, the word ‘edge’ seems to have been cropping up quite a bit in my haiku recently. On the surface, I think it’s to do with the walks I take, which often follow field boundaries marked by dry stone walls. Millstone grit is a feature of the landscape here, and the walls are a couple of hundred years old at least. The stone is mapped with lichen of various colours: yellow, green, white, and after hard weather the iron deposits oxidise and the stone becomes rust-coloured.

But, back to the word ‘edge’. Perhaps it’s signalling where my work is right now, sort of on the fringes, between making and doing. Somehow haiku demand more ‘doing’, more living. Nothing seems to surface unless I’ve been out walking, crossing the fields while it’s still quiet, listening, thinking. I walk everyday. The end of last week was hard because there was a bitter East wind. The start of that week was even harder because I was still self-isolating. But my period of self-confinement was short. Some people have been isolating for the best part of a year. I can’t imagine how that must feel, what it must do to a person. I found myself constantly going to the spare room window to look out over the fields, almost as if I needed to check they were still there. I didn’t write much either.

Julie Mellor, edge of day

My book turned 5 months old this week and I have a feeling now that it is something quite separate from me. An iceberg broken away and drifting off, handkerchiefs waving from the deck.

I always loved the word handkerchief because of that silent -d-, but also because of the dainty waving of it, the lace or embroidery. Always for crying or goodbye. I bought some old handkerchiefs online recently and god knows why. Would it be affected to use one? It would be an exercise in sustainability. Ok, I’ve sold myself on toting a handkerchief around. I love washing things in the sink. That feeling of care.

Sarah J Sloat, Behold Your Horses

Of course, we more commonly use “limbo” to mean a place of transition or uncertainty here on earth, often one in which we feel trapped. (If a person has been in this kind of limbo during the past week, they might have spent more time than is probably healthy wondering if a certain person who departed life has landed in Bolgia 9 or 10 of Hell’s eighth circle.) It can feel like a kind of hell to be in this kind of limbo, and it can require the agility and flexibility a person needs to successfully pass under the limbo stick. I think of the Tom Hanks movie The Terminal, in which his main character is trapped in airport limbo, neither permitted to enter the United States nor return home to his country no longer recognized as a country, and how he adapted to a way of being that feels impossible to most of us.

It’s been a long time since I saw that movie (and I think I slept through a good portion of it) or danced the limbo or read Dante–so these thoughts might be all kinds of gibberish–but I’m claiming “limbo” as my word of the week. It’s been six days since I’ve lived at home, and while I am grateful to have a place with heat and light and water and food, it feels as if I’ve slipped into a deeper circle of pandemic hell, where life is simultaneously both on hold and moving forward, and I don’t know how long it will remain this way. When I packed my little suitcase last Monday, I thought, surely, I would only be gone a few days. I told myself to think of it as a little vacation, a lark, a treat: permission to relax that it is so hard to give myself at home. It was not unlike my initial stance toward Covid shutdown; I optimistically threw a box of brownie mix and supplies for an embroidery project into a bag before closing the door to my dark, frigid house.

Now, after 6 days and four phone conversations with the power company and daily trips back and forth just to make sure that the power is, indeed, still not on, I find myself re-enacting the stages of acceptance I first lived last March. I long to go home at the same time I’m almost feeling as if the life I lived there is slipping away from me. I’m moving from disbelief to acceptance, and my new not-normal is beginning to feel some kind of normal, a transformation I am both resisting and welcoming. We are perverse and adaptable creatures, we humans, whether we want to be or not.

Rita Ott Ramstad, Meditation on Limbo

rolling blackouts
how the wind howls
& the candles dance

on the radio Lizzo
feeling good as hell

James Brush, 02.16.21

This is the time of year when I would ordinarily be taking my kid back to my birthplace — to see family, to breathe the air of where I come from, to enjoy Mexican breakfast at Panchito’s and big fluffy Texas-sized pancakes at the Pioneer Flour Mill. In this pandemic year, there’s no trip to Texas. The last time I was there was for mom’s unveiling.

Knowing that most of Texas is suffering cold and snow and rolling power outages, making these enchiladas feels like a kind of embodied prayer. When I make challah on Fridays I sing while kneading the dough. Tonight I am praying for Texas as I simmer the chili sauce, as I dip the corn tortillas in oil, as I tuck each rolled enchilada into the baking dish.

I spoke with family there this morning, and texted with them again later in the day. Like most of Texas, they didn’t have power or heat. Southern homes aren’t build to keep out the cold — they’re designed to retain cool. A lot of Texans don’t own warm winter clothes; why would they? Often at this time of year, it’s warm enough to wear short sleeves.

I could talk about why Texas has its own power grid, or the outrage of wholly preventable tragedies, or the importance of a robust safety net and good infrastructure in all neighborhoods, or the climate crisis that inevitably feeds worsening weather patterns. Instead I’m rolling enchiladas and praying that somebody can get the power up and running again.

Rachel Barenblat, A prayer in a casserole dish

L.A. winds whip through alleyways, wail eulogies for the lost, tear ghost sheets from cemetery clotheslines.

L.A. winds steer birds off course; break trees of their branches and will; deflower flowers, scatter all cautions to the wind.

They huff and puff, blow down homeless encampments, give rise to stray plastic bags tracing the wind’s form yet unable to comprehend the wind’s full shape and power.

Then, without warning, L.A. winds die out.

All the plastic bags, flower petals, ragged tents, cardboard shelters, and stray bird feathers fall to the ground, joining the broken branches.

The city grows quiet.

Takes on the many colors of its inner mood ring: violet for loving, amber for unsettled, gray for anxious.

Rich Ferguson, L.A. Winds

Yesterday, I had the TV on for background noise while working on a writing project, and there was a dude on Naked and Afraid claiming he had nothing but good vibes while being absolutely devoured by mosquitos. By contrast, his female companion and co-contestant was quite freaked out and complained lots. He had less tolerance for those complaints — i.e. her honesty about her discomfort — than she had for the mosquitos.

Of course, I found it hilarious that his supposed good vibes were so powerless against the agitation he felt as a result of how his partner met her own needs. His belief that his (selectively) good attitude was the only acceptable response to the mosquitos reminded me of a relatively new concept: “toxic positivity.” It insists that if we just turn that frown upside down, all will be well. Or better, at least.

While I’m not a Debbie Downer, I am a known skeptic of silver lining theories, and it’s refreshing that some positivity is being called out as harmful. Why must we take everything in stride?

Carolee Bennett, where the sun don’t shine

For reasons, I felt gritty and low-down and wicked this weekend, so I set about downloading “Grand Theft Auto 5.” I didn’t realize the process was going to take ten years. This game is a monster. I kept checking on the download throughout the day, but it wasn’t until 9:00 p.m. that it fully propagated on my system, and by then I was too tired to figure out how to get through the tutorial. I’m going to try again today. So far it’s quite loud and violent, and I’m stuck in the tutorial because I can’t figure out how to “take cover.” But I’m looking forward to playing someone mean and crooked. I want to steal cars and blow things up. I want to be bad and sultry and quick and criminal. I want to zip around L.A. in a flashy stolen vehicle and bask in the blazing California sun. I am tired of living a grim, responsible life in a cold, gray respectable city. I’m bustin’ out, folks. If the Feds kick my door down, it’s been nice knowing you.

Kristen McHenry, Low-Down Gritty Me, Age Shock, Gym Bag Redux

A lovely evening for a swim. The tide was low and the water cool, and as I waded out (quite far before it was deep enough to swim) I noticed that the squishy mud I was wading through was warm, quite a bit warmer than the water actually.

estuary ::
the night gives back
what the day has taken

Dylan Tweney [untitled photo post]

after my bath
i sit and compose haiku
about my swim

Jim Young [no title]

I was delighted to unpack my copies of the new Locked Down anthology from Susan Jane Sims of Poetry Space. The book has just been published and contains a large mix of poems, diary extracts, photographs and art. 

My poem, a metaphorical lockdown one, has as its focus the eruption of Vesuvius in 79 AD, as witnessed and recorded by the Younger Pliny. The theme seems particularly pertinent and poignant in the light of yesterday’s eruption of Etna on Sicily. 

Back in the mid-1980s David and I spent a year in Italy, and during that time travelled from Rome to Herculaneum and Pompeii, in the shadow of Vesuvius. We also journeyed further south, crossing to Sicily in the train on board the ferry. Naples had been absolutely bitter (this was February); but once we reached the shadow of Mount Etna, the sun beat down on us as we cast our coats aside and rolled up our shirt sleeves. Kind Italian fruit growers offered us giant oranges as we disembarked.  

Caroline Gill, ‘Locked Down’ anthology from Poetry Space

So here I am in the backseat, struggling to relax and enjoy the scenery. This February is a holding-pattern of a month; it’s also busy. I’m halfway through the master class I’m teaching at Randolph College. I’m virtually attending the Poetry and Pedagogy Conference hosted by West Chester starting tomorrow and looking forward to hearing panels about teaching. The workshop I’m running on Saturday morning, on how and why to teach single-author collections, is nearly ready, and I’m giving a reading with the other workshop leaders on Saturday night. Meanwhile, my department is assembling a list for the registrar of our fall courses, so I’m in planning mode for my own fall offerings. The clock is definitely ticking on my sabbatical, even though the second half of the leave year remains fuzzy in many ways, for obvious reasons. (Deep breaths through the diaphragm. Amygdala, calm down.)

Nope, amygdala thinks my editorial load is fight-or-flight. It’s a privilege to work for a great magazine with a great Editor-in-Chief; accepting poems and promoting their wonderfulness is a thrill. Yet, open for submissions for the first two weeks of February, Shenandoah received 736 batches of poems. 736!!! I’m working hard, but when I get down to the most irresistible poems I’ll still have more than enough for multiple issues, which means more hours of difficult siftings and rejection letters that can be wrenching to write. (I have 19 spots max for Fall ’21 and Spring ’22 combined, with some reserved for a portfolio curated by our BIPOC Editorial Fellow in poetry, Sylvia Jones.) I’m trying to take it more slowly than usual and not feel so overwhelmed, but it’s a lot.

The stressy busy-ness is only partly about work, after all. Part of my brain is always rehearsing the vigilance script: steer clear of that maskless man; what can I cook over the next several days to postpone another trip to the supermarket, because it never feels safe there; my mother and daughter are on that airplane, how do I keep it aloft from down here? Oh, February. Oh, amygdala.

Lesley Wheeler, Oh, February. Oh, amygdala.

The towel dried
in the open, a flag rigged to mean look

away, she isn’t who you want. Nobody said
double or shadow. Outside in the world:

you stepped out of that jerry-built
altar, careful to rinse the musk-smell

of magnolias from your nape. You
learned to answer but quietly. How long

did it take before the two of you drew
closer to one another, breathed

in unison under blankets, clasped
hands under a billow of netting.

Luisa A. Igloria, Imago

something with a tail to nuzzle into your palm           to pierce
                             the soft                shell of your heart             something
to take home

something that rolls from under your feet      gathers
              no moss           loves              glass houses        something
to hold in your fist

something with roots you want to slip       sleep under
            climb into           hug          borrow its skin

Romana Iorga, some things to watch out for in a poem

We’d uncoil our Sargent jumps, tapping your top
as you became our iceberg, Sherman tank,
or high-rise block. Your walls were stormed,
but stayed unopened by broken bricks or pot-shots
from our BB guns. David lost an eye
in the ricochet, though I can barely
recall how he came to be standing there.
You were hauled away for scrap soon after.
I should find out where he is now.

Mat Riches, Post-Rock Shipping Containers

Sandra Beasley, a friend of mine who has several severe food allergies like my own, wrote this essay about claiming her identity as a disabled writer. It’s worth a read. And it made me think of my own nervousness, two AWP’s ago, when I was on a panel and was part of a reading for disabled writers. Was I disabled enough?  Could I speak to this group with any authority? Anyway, what does it mean to add “disabled” to your bio, or your descriptions of yourself on social media? If you look at my pictures, you wouldn’t necessarily see any disability, unless you looked closely, or looked at how I cropped out a wheelchair or cane. I notice small things (like my left side never fully recovered from the 2018 MS flare, and I still limp a little on that side, and my eye on that side isn’t quite the same as the one on the right side. Another small thing is I have more trouble reading my poems correctly out loud than I used to. A poetry editor recently asked me to record a video for their site, and asked for a re-recording because I had made minor errors in the words. But I knew that in a re-recording, I was likely to make the same, or worse, errors, because MS makes it difficult for me to read, focus on a camera, and stand at the same time. Did the editor know how bad she made me feel for this neurological anomaly? Probably not. It’s the same with Zoom readings and meetings – I have to shut off my camera sometimes when my brain gets overwhelmed trying to sort noise and imagery and trying to respond properly that that information. It could be perceived as a bad attitude – but really it’s my disability that’s controlling things. During quarantine, I have not asked as much of my body – not trying to walk unfamiliar routes, or dealing with people who don’t know I have MS, or driving to downtown readings that require stairs or doctor’s appointments that take hours of physical endurance to go to. But I still get tired doing things the average person wouldn’t. I have a telltale sign when I’ve done too much that my husband notices – my hands and legs start to tremble fairly aggressively, and this usually means worse symptoms will happen. “Time to rest,” he’ll say, and though I might resist his advice, he’s right. Anyway, I’m telling you all this because it’s hard to be vulnerable and admit your physical, neurological, and mental disabilities. Everyone who has them has a hard time claiming them in a positive way. Do we call ourselves a “disabled person” or a “person with disabilities.” This is an actual thing we have to think about.

Jeannine Hall Gailey, Snow Woes, Who Gets to Be a Disabled Writer, and Having Trouble Getting It Together? Me too.

My pastor asked me if I wanted to do the meditation for Ash Wednesday, and I jumped at the chance.  I knew it would be pre-recorded, and I knew that I’ve been enjoying my approach of recording segments and seeing how to stitch them together.  I like that the process pulls on my poetry brain.  I like trying to think of ways to make the message new.

This year offers additional challenges.  There’s the standard challenge of having heard the message already:  Remember that you are dust, and to dust you shall return.  Some of us might say, “We hear this every year.  Blah, blah, blah, dust, ash, rust, smash.”

But this year, with Ash Wednesday coming after a year of these reminders of our mortality, how do we make the message new?  This year, after a year of watching all we’ve built implode, explode, decay, and disappear, how do we create a message that touches on these themes but doesn’t leave us clinically depressed?

Kristin Berkey-Abbott, Video Sermon on Ash Wednesday

I’ve been shielding and self-isolating for a year. It’s my Covid-versary. At the start, you don’t mark the date. I just remember thinking that it would be sorted by the end of April, and I’d go to St Ives to write. And then that became September, except it didn’t. And so on. Can you remember what day it is anymore? 

If someone told you a year ago you’ll be isolated for a year you’d probably say but I can’t do that. Much in the style of folk who post on social media that they can’t wait for X or Y or whatever. meaning that they don’t want to. I can’t do that. I’m reminded of Kim Moore’s glorious Trumpet Teacher’s curse

a curse on the teacher who says I’m rubbish at music
in a loud enough voice for the whole class to hear

I can’t do that. We believe we can’t cope. We lose someone we love. We lose an occupation. How will we survive? It turns out that you can, that you have, that you do. I had another anniversary in January. Eight years ago I joined an inspirational fellowship and gave up alcohol. I thought I couldn’t do it, but it turned out I could. The remarkable thing is that, as a result, I started to write, seriously, and joined another inspirational fellowship of people who write poems. I’ve had a book published every year since. I started to write a poetry blog, and about 750,000 words later, I’m still writing it. It turns out I could do it after all. As can we all, mostly. 

John Foggin, Keeping on: my kind of poetry. Martin Zarrop

One of the things I enjoy most about readings is the live audience – you can see how they’re reacting, you can address people through eye contact. And on Zoom? You’re lucky if you’ve spotted your friends, who could be on page 2 of the mosaic, you could be faced with a patchwork of faces and blank screens with names, some of which are something like ‘K’s laptop’. Everyone’s muted. Ugh!

The last reading I did, I had the poems on my computer screen so I could read off them and not keep looking down. When it’s just your head and shoulders visible, if people are looking at me (and hopefully they’re not all the time!) I want to seem as if I’m addressing them. I know I like this when I’m watching a poet read, and a number of people have told me they like it too. The downside to this strategy is, if you’re on a laptop, you might find your Word document (with the poems on) obscures the Zoom window, and with no ‘feedback loop’ you just have to carry on and trust people are there and haven’t all gone home, or that your connection has died and you haven’t realised, so you’ve been talking to yourself for ten minutes. Another way might be to pin your poems on the wall above your screen, which come to think of it might work better as you’ll be looking at a point just above the camera. OK now I’m overthinking things, and making myself more anxious…

Robin Houghton, On giving a poetry reading via Zoom

Today someone said I
seemed like a pink lady.

In another part of town
I heard a tiny bird-

song that touched me.
A meeting was held and

I got naked on a screen,
with my clothes on.

I kept someone waiting
for over an hour,

was forgiven.

Marie Craven, I Heard a Bird

Have you noticed a change in submissions to Atrium Poetry since lockdown?

I think we received more submissions in 2020 than in previous years, and I’m sure a good chunk of that was lockdown-related. Some people commented in their cover email or bio that they’d been inspired to start writing/return to writing when lockdown began. We have had a lot of poems about Covid (see next question!).

If poets are considering sending work to you should they send poems about Covid or are you saturated by them?

We don’t have any set themes at Atrium, so poets are free to send us work on whatever subjects they wish. Having said that, we have been (understandably) sent a lot of Covid-related poems, and I would make the point that the only ones we’ve gone on to accept for publication have been ones that look at the pandemic in a fresh and original light (though the same applies to any subject, really!). We’ve received many poems that essentially say the same sorts of things as each other (‘it’s hard not seeing family and friends/ I’m worried about older relatives/ I’m washing my hands a lot’!). It’s not eye-catching or ‘different’ enough to simply state the more obvious aspects, relatable though they are.

How will you focus on your writing during this current lockdown and do you have any tips for other poets?

I’d just made my ‘Writing Projects for 2021’ list when lockdown was announced, and my initial feeling was ‘just carry on regardless’, despite the restrictions on time.

The reality, though, is that I’ve not been able to keep up with things – daytime is taken up by home school and other work, and I’m too old now to have any energy left to write in the evenings! But my experience of the first lockdown reassures me that writing will pick back up again in time, and I’m trying to be relaxed about it! Needs must, and it’s not forever.

I suppose, with that in mind, my tip for other poets would be don’t be too hard on yourself if you don’t get much writing done during lockdown – for some it’s a very productive time, but for others (most?) there are too many other things going on to focus properly on writing, whether that be because of other commitments or just because you can’t find the oomph to do it in amongst the general worry! The urge/time/brain-space to write will return – you’ve not written your last poem. Trying to follow my own advice there…

Abegail Morley, Creativity in Lockdown: In Conversation with Claire Walker

I’ve been thinking about submissions from a different angle recently. In the autumn, I had to embark on a recruitment exercise at work for the first time in many moons and was disappointed, but not surprised, that nothing had changed in terms of the information gathered on the application form: the requirement for the applicant to state their full name, date of birth, gender, educational and work histories, with dates, surely provides more than enough ammunition for a bigoted manager to discriminate negatively on the grounds of age, gender, schooling and, in many cases, their ethnicity and class also. There should surely be scope for pseudonymous applications, without a requirement to state gender unless the job requires it in accordance with the Sex Discrimination Act 1975 and the Equality Act 2010. In many cases, though, stating the name of one’s school would give away one’s gender, or birth gender at least. Does any information really matter other than work history and how the skills and knowledge the applicant has acquired over the years might be applicable to the role they are applying for?

A similar pseudonymous approach could of course be tried for all poetry submissions, with the proviso that acceptance is conditional so that unrepentant plagiarists or criminals convicted of the most serious offences might be subsequently excluded as appropriate. But then there’s the argument that subject-matter and/or the authorial time and outlook often convey as much about the poet as any full disclosure of name and biography might. In the poetry world, there’s been much talk of ‘levelling-up’ long before our abominable government started hoodwinking the gullible into thinking they were serious about that agenda. (Outlawing the establishment of fee-paying schools and turning existing ones into non-fee-paying might be a good start, if you ask me.) Much excellent positive discrimination in the last decade has enabled the diversification of poets being published in the UK. Ultimately, letting fine poems shine regardless of their authors’ background or identity so that otherwise marginalised voices are heard as loudly as any others ought to be an essential part of the mission statement for any journal now, and I struggle to think of any UK-based journal which fails to adhere to that basic principle. None of this is original thinking, I know, and none of it is rocket science either. Yet, in the same way that there is now a war on ‘woke-ness’ in wider British society, I suspect there is a disgruntled (no doubt 99% white middle-class male) minority within the poetry community who feel that positive discrimination has gone much too far. Well, yaboo-sucks to them.

Matthew Paul, The information

I sometimes turn a short story into Flash as an exercise. What I try to avoid is ending up with a piece that has lost weight but is still wearing the same old clothes. I focus on a single scene, lose a side-plot, or lose a character. If I return to the short story I’m usually able to exploit what I’ve learned when writing the Flash.

Sometimes I’ve made a page-long poem more episodic, then I’ve broken it into a few poems. Not all of the shorter poems succeed, but at least I’ve salvaged something.

Welsh writer Cynan Jones’ story “The Edge of the Shoal” began as a 30,000-word short novel but he cut it to 11,500 words because “it didn’t work.”  When he sent it to The New Yorker they liked it but asked him to cut it in half. He took 4 days to cut the story to 6,000 words. In that form the New Yorker published it and it won The 2017 BBC National Short Story Award. The original version was published by Granta as a novella entitled “Cove”, which then won the Wales Book of the Year Fiction Prize.

Moral – you may want to keep more than one version of some of your pieces – short and long versions. If you chop, keep your drafts. You may never become famous enough to sell them, but they may have something valuable that gets worn away by rewrites.

Tim Love, Editing down

In 2017 – 2018 I had a lovely time working in a secondary school in Bath one day work, employed as a Writer in Residence. I used this blog as a notebook to document the workshops, so I thought I’d link to a few of the posts I wrote, for anyone who might find them useful at this time of homeschooling and being stuck indoors. The young writers I worked with were mostly aged 11 – 16 but the workshops can be adapted for other ages – and for yourself if you’re in the mood to do some writing and you need a little inspiration. […]
 
Cutting up text to write poems – This workshop produced an impressive amount of work by the students I worked with, even those who told me they “didn’t like writing”. Cutting up and manipulating text can be satisfying and fun and makes a change from facing up to the blank page. I was strict with my young writers and didn’t allow them to add in extra words “so a sentence made sense” but they were allowed to write anything they wanted in their own notebooks, so many new phrases and ideas popped up, leading to fresh poems and stories.

Josephine Corcoran, DIY Poetry Writing Workshops

Edmonton poet Paul Zits’ third collection is Exhibit (Calgary AB: University of Calgary Press, 2019), following Massacre Street(University of Alberta Press, 2013) [see my review of such here] and Leap-seconds(Insomniac Press, 2017). I’m frustrated in that I don’t even think I saw a copy of that second collection, and only received a copy of this latest collection a few months back; why is Paul Zits so silent on these books he’s been publishing? As the back cover to this new collection offers: “In the winter of 1926, Margaret McPhail went on trial for the murder of Alex, and throughout, maintained her innocence. More than a retelling of her trial, Exhibit chronicles the path to a verdict, misstep by misstep. Unique and rewarding, this is a masterful work of collage poetry that rests in the spaces where reality is constructed and where reality is blurred.” I’m immediately fascinated at Zits’ exploration of the prairie document, retelling the bones of a story of early prairie history through the shape of poetry, putting him in a lineage of multiple prairie writers such as Dennis Cooley, Monty Reid, Robert Kroetsch and Kristjana Gunners, among others. Zits applies the elements of the story into short, sketched lyrics, presenting and capturing moments that accumulate and shape into a larger narrative of what might, or may, have happened. He writes out the spaces amid the spaces; what is known and impossible to know. Unlike Kroetsch or Cooley, Zits’ collage-story attempts the impossibility of truth, even through the knowledge of that impossibility. His lyrics present with the facts as best as possible, allowing the reader the space to get inside.

rob mclennan, Three short reviews: June Gehringer, Tess Brown-Lavoie + Paul Zits

 I’ve always considered myself a poet whose work relies tremendously on research, whether it’s more serious (the Chicago World’s Fair, the Italian Reniassance) or less serious (tabloid headlines and slenderman lore.) In the early 2000’s my errata project, which cobbled together both orginal and found texts was one of the first things I’d written that involved external sources directly, but I’d touched on bits obliquely before.  Many of my first, better poems were steeped in history, mythology/folklore, and literature. (I always say I din’t have much to write about myself, so I plumbed these to exhaustion.) Thus I have a lot of mermaid poems, even from the beginning. Fairy tale poems –my favorites being Little Red Riding Hood, Rapunzel, and Hansel & Gretel–all things that I’ve written more than one poem about.  My entire project, the shared properties of water and stars is basially a take on Goldilocks that’s expanded into story problem logic.  

Later, I devoted an entire chapbook length series to Resurrection Mary, Chicago’s own vanishing hitchhiker legend, a project that not only had me deep in chicago history, but doing fun things like ghost tours. girl show involved a lot of searching into sideshow and carnival performers of the 30s and 40’s (and the discovery of the Hilton sisters, after which my two siamese are named.) There was the summer I spent reading Slenderman stories and books about the legend, as well as digging into true crime about the stabbing in Waukesha. There was research into pin-ups and nuclear america for strange machine and terrestrial animal. Extinction and evolution for my series written for the Field Museum. Ekphrastic subject matter for the Cornell Project, my Dali series, the Shining poems.

Kristy Bowen, writing history and myth

I’m talking brain imaging, I say. Our brains mirror other brains; that’s how we understand one another. He’s still got his patient listener face on, so I continue. This explains how clichés impair writing. Because when we hear a cliché like put the cart before the horse our brains don’t evidence any interest. That saying was originally a clever use of language the first 1,000 or 100,000 times it was said but our brains react minimally to clichés. Brain imaging shows we take them in only at the most basic level. Phrases like “scared out of my wits” or “made of money” were original once, but now they deaden our responses.  Besides, many clichés in common usage come to us from generations ago, when everyone knew how foolhardy it was to put the actual cart before the actual horse. Take the cliché “caught red-handed.” This likely came from centuries back, when serfs worked the land of some lord or another. There were strict rules against poaching. Even if one’s family was starving on what little they could grow, it was illegal to hunt on the lord’s land. Caught red-handed meant you had blood on your hands and would be severely punished.         

Mark alleges he still likes clichés and gleefully adds the cliché, “You can’t teach an old dog new tricks.”* It’s a game now. We continue to toss out ever more ridiculous clichés until we weary of them and put the audiobook back on.

Listening to it, we finally we reach a cliché-related accord. I agree with him that a book’s character can and perhaps should use clichés if it’s in keeping with that character. In this pop mystery, I can see why a character or two would talk this way. Mark agrees with me that the book we’re listening to also uses clichés in description and plot development outside of character narration, and it’s off-putting. We listen a few more miles and he says. “Now I can’t help but hear all the clichés. Thanks.” We give up on the book.

Yes, we’re still married. And yes, I still give that cliché talk but have learned to keep it in the classroom.

Laura Grace Weldon, Clichés

In “The Oscillations” Kate Fox has a collection that explores neurodivergency and how masking differences comes at a cost and the isolation that can result, although there’s also hope in new connections as a world shifts. The pandemic is a backdrop, something battled and overcome with a journey towards renewal. The poems have a focused, conversational tone which belies their careful structure: the apparent casualness relies on sound echoes and partial rhymes. These poems both skim the surface and explore the depths, which path is taken is up to the reader.

Emma Lee, “The Oscillations” Kate Fox (Nine Arches Press) – book review

I have had the pleasure of knowing [Saddiq] Dzukogi over a number of years, sharing correspondence over poems and life. In his work, I have always found a paced, meditative way with the line that develops emotional depth across images that hold for a reader like sunsets: intense, clear, and with a momentum one can feel.

“Wineglass” below is a good example of this. Through intimate narration, the poem develops from its title image into a vessel of its own, holding the speaker’s grief while also moving through the experience of it. Physical details such as “Hands, cloudy from rubbing the grave,” evoke the speaker’s state of mind through the image of cloudiness and emphatic action of rubbing, while the word choice of cloudy/grave parallel the speaker’s desire to mix and be heard across worlds.

José Angel Araguz, writer feature: Saddiq Dzukogi

How do I hold
her in tenderness— one way of tending a life is to stand in a queue

at the shop as beans get roasted. It takes time to prepare
a tumbler of frothy coffee— a lifetime if it is the final gulp.

You in your chair overlooking the deck and I in my terrace where
the hibiscus shrub is eaten by mealybugs, hold the cup of absence.

Uma Gowrishankar, how to drink loss

There is nothing more pleasing than to write with a newly filled, well-flowing fountain pen, on the pages of a C.D. Notebook (another obsession). Let me make this case for writers of all kinds to use a fountain pen: the more you write and use your writing instrument, the better it will flow. If you leave off writing, there is the possibility that the ink will dry in the mechanism, and things will start to get hinky. Which is to say blotchy or dry or skippish. The more you write the more you flow. And that, my friends is the secret to fountain pens and the secret to writing. And the secret to refraining from giving in to the cussedness of it all. You know.

Shawna Lemay, The Cussedness of Fountain Pens

that moment when the very first raindrops
tumble down from the broken sky
scattered and fat
perfect
lovely

James Lee Jobe, you are alone in the silence

A xylophone of icycles on a rusted bridge, a bass drum of cloud.
A glimmer of moonlight on the coldest night for twenty years.
I have your last letter in my pocket.

I hear you saying I wish I could see you once more.
Someone saw you in your house by the sea.
A sense of lamps. I should have known you’d understand

The laziness of forgiveness, the hard work of bitterness,
The emptiness in every room. Did anyone see you move in?
One by one your books will abandon you.

Bob Mee, A QUESTION OF SIGHT AND SOUND AND THREE OTHER NEW PIECES THAT MUST SPEAK FOR THEMSELVES

I think
of us loving
into the night,

the darkness
not something
we have feared.

We empty
ourselves into it
again and again.

Loss fills us
for another
go at hope.

Tom Montag, AN IMAGE OF

Poetry Blog Digest 2021, Week 6

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, we’re a month and a half into 2021 and years into an endless, if somehow also endangered, winter. But today, reading the poetry blogs, I found valentines. Not the mushy, sentimental kind, of course. These were stronger, darker, riskier—like love itself.


On this Valentine’s Day I’m thinking about all the people who’ve lost their lover, their husband or wife, their child or parent — especially those losses that have occurred during the past year. It’s an astronomical number. A mind-boggling number. A river of tears stretching around the world. For many of us, there may not have been an actual death of someone we loved deeply, but days and months when we feared it more than anything we’ve ever feared.

Why do we take the risk? Why do we love, if we know we’re either opening ourselves, or the ones we love, to inevitable, eventual pain?

Beth Adams, Hermit Diary 56. Eros and his bow

Finally the mug, lovely gift from Mike. Last night, I wondered darkly how long I have to go without writing a poem before I stop being a poet. This morning, preparing a Valentine’s breakfast for one, this was the obvious mug to choose. 

I sat in bed this morning in the company of crockery, eating toast, drinking orange juice. Three times, I poured milk from the tiny jug into the mug-of-affirmation, before pouring on the English Breakfast / Earl Grey mix. With each mugful, I felt the warmth of love, in all its richness and many forms, grow stronger.  

Liz Lefroy, I Set A Breakfast Tray

We do have the privilege of a garden.
It’s all relatively new to us. A blessing just in time
before the world got stopped.
We established our very own animal pub there-
it’s called The Grain & Shell.
Birds & squirrels
feed & drink
& fight &
dance & mate,
but this Winter the water in the shell freezes
first a below-zero ice-skating rink, then a small mountain of hard snow.
Thirsty squeaking little birds cannot break through it;
squirrels lick the frozen surface
then leave in clear disappointment.
Every morning after tea & coffee
we now put another kettle on & melt
the glacial, hazy and rigid mirror
& watch the lot steam up in the cold air.

Ernesto Priego, The Shell

You ask, can music do that – curl the tongue around the stitch of ache –
when the note touches the ceiling of the hospital room as you take
your walk and the night sky rotting green burns at edges with city lights.

You wear black, rest like fractured old wood on the migraine flare
that flames your body. I gather your feet to trace the rings of age, sluices
of calcium whorled in volcanic blooms.

Uma Gowrishankar, The Journey

Here’s me on my bicycle, with the long shadows of a bright February evening. Better to head into the shadows than cycle with the sun in my eyes – and in the eyes of the drivers behind me. Lockdown has brought my bicycle and me even closer together. I really should oil it soon.

Tim Love, Long shadows

Don’t tell me how to lose someone.
I’ve earned this experience.
Some knitting, a watch, a photograph:
through these things I remember.
The blood rises to my cheeks, already red
from genes I no longer trust.
I’m like the ship of Theseus.
How much can I cast away & still be myself?
I try to identify my face in the bathroom mirror
at the grocery store. Those are my eyes,
there’s my crooked nose, that’s the gap between my teeth.
Every seven years all the cells in my body renew.
I set the boat on the water, push it out to sea.

Jason Crane, POEM: Hello sailor

This Valentine’s Day, my object of love is the world, and what kind of a clear manageable object is that?  

I could narrow it down, focus, make it a simple object, like an oyster, and use all of my five senses to explore its delicate being, its opalescent color, its sand and pearly shell  

I might complicate things by thinking about the ocean, and how many people die in it every year, and how many sailors and fishermen have perished over centuries, how many in the Middle Passage, and wonder if I can still love the ocean

or that oyster that is its product and essence of the ocean itself

and I might be eating the oyster as I am listening to a roll call, to documentation of a country falling apart

Jill Pearlman, World Valentine

For this poetry prompt for Valentine’s Day, start by reading “Untitled [Do you still remember: falling stars]” by Rainer Maria Rilke (as translated by Edward Snow) and give some thought to what you like/admire.

For me, it’s that Rilke captures the delusions of grandeur being in love can inspire. And instead of poking fun at us (or at himself), he embraces the phenomenon as a shared human experience. How silly (and necessary!) for us to feel as though our current romance is the biggest love that’s ever existed in all of the universe and surely will transcend time itself! And although he acknowledges the absurdity of that in the poem’s final line, he does it gently, via a kind of nostalgia for this collective culpability.

I also appreciate that the poem avoids being overly sentimental. Tricky for a love poem to do! This is accomplished by incorporating words that offer a glimpse into the imperfections of romantic love: words like “hurdles,” “hazards” and “disintegration.” These are not typical love poem words and may seem in opposition to what the poem is saying about love being grand and lasting forever. Instead, they’re subtle reminders that love encompasses risk and a fair amount of disappointment, including paling in comparison to what “forever” actually is in the context of the cosmos. Risk is just part of it — “wedded to the swift hazard of their play” — and unlikely to deter us.

Note that word, too: “wedded.”

Carolee Bennett, poetry prompt for valentine’s day

breaking boughs
bent live oak branches
the weight of ice

today this mask
feels good

James Brush, 02.12.21

I’ve been sending missives from menopause and perimenopause over the last few years, and sometimes they feel like dead letters. Well, almost all poems land softly–but the so-called change of life feels so BIG to me that it feels like there ought to be a much larger body of literature about it. So I was really happy when “Oxidation Story” was accepted by Kenyon Review Online this fall, and even happier to receive lots of positive responses when they published it yesterday. I’d worked on this one for years. Maybe I got the words right, or the subject matter called to people, or the prestige of the venue attracted attention? In any case, it made me feel seen for a shining moment, for the writer in me.

That’s one of the weird side effects of crossing over to this side of 50: you’re catcalled, harassed, and menaced for most of your life, then you become invisible. I prefer invisibility on the whole, but it would be even better to become, say, “distinguished.” Most TV shows and movies provide illustrations of how impossible that seems to be. As my spouse and I burn through all the shows streaming services have to offer, we just tried “The Undoing,” which pairs Hugh Grant and Nicole Kidman as high-powered professionals in unholy matrimony. Kidman is ultra-fit and facelifted and bewigged into a simulacrum of Pre-Raphaelite maidenhood; Grant is carrying more pounds than in his lean thirties, hair grayed and face a little jowly, but he remains very much the leading man. It’s not that I’d put Grant on a diet; I’d rather see Kidman, or any older woman, allowed to wrinkle and accumulate a spare tire and still play a complicated, vital main character. The disparity gets old. (As does the effort to discern facial expressions in an actor post-botox.)

Even in the underresourced world of literary publishing, most successful women-identified authors are glamorously slim and able-bodied. I sometimes wonder if the best thing I could do for my career would be to go paleo and get my eyebrows done, but I’d rather jump my game-token right to witchy croneland.

Lesley Wheeler, Report from hagdom

slid into a place where
long worn grooves of
deep body habit
flourish in the dirt
making mud pies in
a hot back yard the
taste is bitter.

loving the ugliness
of the deep body its
sweat and grease and
pungency its freely
unwashed hair and
legs of fur its
old Lilith.

Marie Craven, Slid

Meet my new friend, the viscacha. He’s got a look that is simultaneously wise, weary, and worked-over. While I can’t claim to be wise, I am definitely feeling weary and worked over by the world. Introduced this friend to my students this week and one responded with: “What does he hear that we don’t that he needs ears so big?”

José Angel Araguz, viscacha vibes, recent pubs, & upcoming virtual event

I had a rough week of not being able to do or say anything right 1) in Zoom meetings 2) in general. People sometimes disappear in Zoom if someone is screen sharing, and it’s getting harder and harder for me to connect, engage in true communication, and feel like myself. Also, it’s so very cold outside, and I’d rather sit on the couch reading books, wrapped up in a soft blue fleece blanket, than do anything else. 

Today I gave in to the couch, and that produced 4 poem drafts, a healing calm, and restored my sense of who I really am. Sigh… It helped this past week to call up some friends up spontaneously on the phone. Thank you, friends! It’s been almost a year of isolation, and maybe I hadn’t felt it as intensely till now. I know I’ve had it easier than many, as a shy person and an introvert and someone with a safe, masked, part-time job. Feeling for all the rest of you, you can be sure.

Kathleen Kirk, Rough Week

We ended the day on the porch with our mandolins trying to pick out the melody of “Where Did You Sleep Last Night?” (a Leadbelly tune also known as “In the Pines” perhaps made famous most recently by Nirvana).  It’s not a very hard tune, so we also had time to talk some music theory, about key signatures and sharps and flats, theory that my spouse has internalized but astonishes me.  It reminds me of when my beloved undergrad English professor Dr. Swanson told me that all fiction must have conflict, and I ascertained that it did not, and she challenged me to give her one example.

Literary theory, music theory, political theory–why is my initial response to ascertain that the theory is wrong?

Kristin Berkey-Abbott, Days Off, Days on My Feet

is awakened the word
for a seed that dies, then is sown

when i believe in what wind listens for
why does my nest unravel

can anyone else open a poem
to the fate of its reader

Grant Hackett [no title]

Somewhere in my drawers is a tape I made circa 1995.  I was coming off my first poetry workshop in the spring and was writing and submitting work at a rate I hadn’t been in a while. .  I would take my small black boombox out to the dining room table of my parent’s house where I would write in the afternoons and record myself reading the poems.  Mostly, to see if the sounded good when read aloud, since so much of poetry depends on the auditory. I saved the tape and traveled with me from apartment to apartment since , though I don’t even have a tape deck to play it these days.  Besides I am not sure I could handle hearing 21 year old Kristy and her terrible poems from this distance.  I do like the fact that it exists, along with cd recordings of several other radio readings preceding the rise of digital files. I also have a taped version of a reading we wound up recording in a bustling diner near Northeastern U. complete with dishes clattering and secret slot machine noise from the back. 

I have a strange relationship with the sound of my own voice, which of course does not sound anything like it does in my head when I hear it played back. Too childlike, too formal  I sometimes struggle with this when it comes to the video poems.  I remarked to a friend recently about the delight and surrealness of hearing other people’s voices read your work. Hearing your words in other people’s mouths and I remember the shock of the first time. Someone once told me at AWP that she had had her students read all the poems in a chapbook of mine, one poem per student, all in a circle and this felt like a ritual.  I wanted to see it and hear it all. This along with a local poet who once told me my work reminded her of a hybrid between Plath and a Davis Lynch film is one of the coolest things and highest compliments anyone has ever said about my writing. .  I want to put his on my tombstone. 

Kristy Bowen, voice and the spaces between

The body is always talking to us. 

This week, for me, included a recurring cricopharyngeal spasm – or in other words, a cramp in one of the muscles of my pharynx, typified in my case by the feeling of a painful lump in my throat and the sensation that something is stuck that cannot be swallowed down. 

Doctors aren’t quite sure what causes these spasms, but of course, anxiety is indicated. Anxiety, oh my faithful companion since childhood. Anxiety, gift-wrapped and presented to me by my mother who suffered mightily under its influence.

And of course, there’s plenty to be anxious about. No need to list here as I’m sure you have your own list which likely shares several items with mine. I wonder though if this week’s cricopharyngeal spasm might be my body manifesting what I feel so acutely – that I cannot get the words on the page – that I am choking on unwritten poems. 

Erin Coughlin Hollowell, Listening to the body

Having just finished “The Secret of the Old Clock” I have learned many astonishing things, among them that cinnamon cake topped with hot apple sauce is a thing that exists. Another is that we were once brave and hardy and healthy and wholesome. We knew how to do basic things like a change a tire, operate a motor boat and alter a garment. (Nancy does all three in the first few chapters alone.) I won’t go too far down the “we were better people then” rabbit hole, but it was a bit of a culture shock. The early Nancy Drew books were published in the 1930’s, and obviously it’s a whole other world now. We have lost a lot of competencies that used to be a given part of adulthood. Speaking of adulthood, it never occurred to me reading the books as a kid that Nancy is eighteen years old and living at home with her father with seemingly no plans for college or getting a job. For someone with nothing to do, she certainly manages to keep busy. And her Dad…can we just talk about her dad for a minute? I guess it must have been lost on me as a kid because I didn’t recall much about him, but Carson Drew is the best dad ever. He’s a kind and indulgent father, but he’s always pushing Nancy to think logically and to be courageous and make bold moves. And he raised Nancy as a single dad when her mother died.

Along those lines, I found it interesting how many of the characters in “Clock” had alternative living arrangements to the nuclear family. There were two cousins who lived together on a farm and made their living selling crops, sisters who were raising an orphaned child together, and Nancy herself, who lives with her father and his housekeeper. In fact, I don’t believe there was a single character in a nuclear family in the entire book. Most of the characters were struggling financially to some degree or another but they were getting by and they embodied stoicism. I can feel another bout of “we were better then” nostalgia coming on so I better wrap this up. The bottom line is, I have a Nancy Drew box set and I highly encourage you to obtain a box set as well…any box set. They are a thing of joy, no matter what your reading preference.

Kristen McHenry, Box Set Bonanza

One important factor when approaching poetry collections is their attitude to the reader. Some seem intent on talking to themselves in an echo chamber, while others generate an implicit dialogue with anyone who opens them. However, a select few establish their own interior dialogue, before offering the reader a role as observer and even as an additional participant.

If Jonathan Davidson’s new book, A Commonplace (Smith-Doorstep, 2020) achieves the unusual feat of belonging to this final category, it’s primarily because his method when assembling the manuscript also deviated from the norm. Not an anthology, not a single-author collection, Davidson’s book is a unique combination of his own poetry with work by others, all interwoven through snippets of prose that comment on, complement and join up the poems themselves. In itself, his breaking with convention is already a statement of intent.

Matthew Stewart, Challenging our preconceptions, Jonathan Davidson’s A Commonplace

One of the pleasing things about an anthology site like And Other Poems is the variety of themes, styles, and voices available.  Heidi Beck’s ecopoem ‘I Write to You from a Tree Museum’ takes as its starting point, lines from a Joni Mitchell song “‘They took all the trees / And put ’em in a tree museum” – the poem then makes real the grim possibility of earth’s great diversity of trees existing only within the confines of such a ‘museum’.
 
Caleb Parkin also imagines a world of species extinction, and draws attention to the climate emergency with the use of humour in his poem  ‘Please Do Not Touch the Walrus or Sit on the Iceberg’.  The speaker of the poem exuberantly ignores this instruction, an actual sign on an exhibit in London’s Horniman Museum, bringing to the foreground a reality which is all too easy to ignore.

Josephine Corcoran, January 2021 at And Other Poems

All cups of tea are generally amazing, but I’m thinking at the moment one of those cups you have when you have to say aloud “Ooh, that’s a good cup of tea”. The kind that usually only happen either at the start of the day or outside on a cold day, the kind that goes down in three to four boiling hot mouthfuls, but somehow doesn’t cause you third-degree burns of the gullet. You know the type.

This week my pre-bedtime reading has mainly been the latest copy of The North, #65.

The North is usually a great read and remains high on my list of magazines I’d love to be featured in. NB I have poems out for reading at The North at present, but I’m not writing this as an attempt to blow smoke up any arses, I am writing this because I am half-tempted to burn this copy. Not because it’s bad, quite the opposite. This issue is one of those cups of tea. I’ve come away from it with a long list of poets to investigate further—I suspect this means some of the folks who had found themselves close to the top of the TBR pile may find themselves nudged back down again.

I’ve turned over so many pages to come back to, to look up poets, etc that I probably should have just folded the mag in half when I’d finished.

Mat Riches, Bang To Rights

I’m absolutely floored to realize I’ve been missing out on a whole series of critical publications on small press endeavors (Derek Beaulieu did bring it up a while back, but I hadn’t gone to explore any of it), the “Among the Neighbors” chapbook series curated by Edric Mesmer, “a pamphlet series for the study of Little Magazines,” run through The Poetry Collection of the University Libraries, University at Buffalo. The chapbooks that Mesmer was good enough to send along include Derek Beaulieu’s “TISH – Another ‘Sense of Things’” (#3, 2017), Tim Wright’s “Migrating Ears: Kris Hemensley’s The Merri Creek, Or, Neroand H/EAR, with some brief comments on the earlier publications Our Glass, Earth Ship, and The Ear in a Wheatfield” (#7, 2019), Tina Darragh’s“Washington, DC Poetry—Mass Transit and Folio Books Reading Series” (#11, 2020), Catherine Noske’s “Reading Piglets: Westerly Magazine, metadata, and the play of digital access to literary publication” (#12, 2020) and Adeena Karasick and Kedrick James’ “To Breathe Poetry Among the Neighbors: Two Essays on Anerca, a Journal of Experimental Writing (1985-1990)” (#13, 2020). What appeals in these publications is not simply the critical and conversational exploration of small press, but a recording and documentation of journals that might otherwise have simply disappeared into the ether of history—I’m struck, for example, to learn that Adeena Karasick and Kedrick James produced a small journal for half a decade, and I hadn’t heard a peep about it prior to this. It reminds of when I was gifted various bins of the late Ottawa poet Jane Jordan’s extensive librarya few years back, and discovered numerous Ottawa-based literary journals and presses from the 1970s and 80s I had never even heard of [see my post on such here].

rob mclennan, Among the Neighbors: a pamphlet series for the study of Little Magazines : #3, 7, 11-13

My second manuscript, Letters from the Emily Dickinson Room, was alphabetical by title. Because I wanted certain poems to appear earlier in the collection, this constraint of alphabetizing made me have to be more inventive with my titles, which ultimately strengthened my books. (One of these blog posts, I’m going to have to talk about constraints in our work as I feel it’s one of the most powerful tools for artists, poets, and writers for inventiveness, imagination, and getting out of our own ways…) 

But back to this manuscript stuff, my new book (which is currently heading to the printers as I type this!), Dialogues with Rising Tides is in sections, and it’s the most sections I’ve ever had in a book. Seven! 7 freakin’ sections! I would have never thought I’d write a book full of sections, but I realized for this book, for me to weave together the different themes (environmental collapse, suicide, relationships, love/desire, melancholy, anxiety, cruel politics), I needed the reader to have more pauses in the book so they could have space to take it all in. 

Because the ocean plays such a big role in my book, my section titles are named after lightvessels (also called lightships). These are huge ships that act as floating lighthouses to keep people away from hazards. There’s a section called Break Sea (ways the world tries to break us), Black Deep (lots of melancholy themed poems in here), Shambles (poems about America and getting an IUD during 45s inauguration!) My hope was also the poems would be lightvessels for readers–even while they explore some tougher subjects. 

Kelli Russell Agodon, Thoughts on Putting Together a Poetry Manuscript

So, as we watch old movies, and watch the snow come down, I’m tentatively thinking about the future. Have you started doing that yet? I’m thinking about my birthday, April 30, and daring to hope I will have the vaccine by then so I can safely go to, for instance, the bookstore or the dentist. Things I’ve been putting off – like going to the gardening store I love, or schedule an appointment to go into Open Books again to browse poetry. I hope to have a celebration, even if it’s just a small one.

And I’m scheduling some medical appointments I’ve been putting off. I’m getting my MRI of my liver  – which I haven’t had for a year – next week, and hoping for good news (or no news) there, and soon I’ll be getting my brain MRI for my MS. Health care does feel a little safer now that health care workers, at least, have been vaccinated, even if I haven’t.

And looking at book publishers and imagining which I would like to have publish one of my book manuscripts. There are great established publishers I love – like Copper Canyon, or BOA, or Graywolf – and some great newer ones, like Acre Books or Yes Yes Books. I’ve even started thinking about book covers…I’m hoping that the acceptance of one of the books isn’t too far off now. Is this unfounded optimism? I don’t know. I’m even working on a third manuscript – which seems like the height of nuttiness, but I think I’ve written another book after the second one, all about the pandemic. I’ve also reached out to a couple of poets that I’ve been online friends with for a long time to talk about publication, and it turns out, it’s a great idea to talk on the phone to people instead of just social media. It reminds me of the eighties, when you’d write letters to your friends and sometimes call them, but it was probably too expensive to do often. I’m realizing I have a poetry friends I’ve known for years all over the US, and talking to them reminds me we are all in this together – whether you’re in upstate New York, rural Virginia, or like me, in a far-out suburb of Seattle. Everyone has struggles and doubts, and talking about them seems to make them lessen, and encouraging friends make everything a little better.

Jeannine Hall Gailey, Happy Valentine’s Day (during a Pandemic and a Snowstorm!), Tentatively Thinking About the Future, and Adventures in Japanese and Plath

The 40 days of Lent — which comes from an Anglo Saxon word meaning lengthen, as in days lengthening into Spring — are just around the corner. They begin February 17 this year, and continue (with Sundays off, as a day of rest) until April 3, the day before Easter. Traditionally, many Christians give something up for Lent: chocolate or plastics or red meat. I encourage whatever giving-up you feel will help you confront yourself this season.

But what if you also gave up “not writing” for Lent this year? […]

I have so many irons in the fire right now, that it’s probably a little crazy to add one more thing. Even so, I’ve been really really procrastinating on getting my next poetry manuscript together — making excuses not to start it — so that’s what I’m going to give up “not working on.”

Bethany Reid, So, What Will You Give Up for Lent?

Feeding the horse there’s extra hay, a carrot
            & my own body offered up for science, they study

my fires. I immolate 5, 6 times a night, you know
            how it is, or you don’t, quantitative now this heart

rate tachycardic still 11 months later. 5 degrees outside,
            1000 in (or plummet, depending). One time a fragment

burned so hot it turned obsidian then cracked heart-shaped:
            millennia later, you found it on a beach & pocketed

hope, a thing with feathers, metaphor.

JJS, Valentine with death and life

You did leave, she was right. The odds she had given me – 83%, she said, not 80 or 85, I always loved the precision of that – turned out well. And though I have been certain at least twice that you were returning, still you have not come back. I am amazed by that, and grateful. Most days I do not even think about you.

Only, I do. I think about you a lot. I have written two books about you (possibly three). You are in everything I do, because I am still being touched by what you did (are doing) to me, even though you have left and are no longer in my body. Those ghost-pains down my right side, just above my kidneys (we thought it was stones). The hours I still lose wondering if you are there and if you were there, how would I live my life then, having been known by you already?

For someone with no presence, you have a long shadow. In my life, my body, my mind, and in the lives of those I love whose bodies you also seem to need. People used to ask me, was I angry that I had you. No, I said. But I was sad that my children had to know about you at such a young age. I am angry, though. I am angry that you took away my friends and are trying to take away others. I am angry that we still talk about fighting you, as though we have individual responsibility for making ourselves better. Tomorrow, next week, next month, a person we all love will die having fought a ‘battle’ with you. For one so common, you have so much power. We can be cured from having you, but we cannot cure our addiction to needing to talk about you as a battle to the death.

At least we no longer refer to you by your initial. At least we now say cancer. A doctor friend of mine says the next word we need to deal with is depression. (I know about that too, thanks in part to you.) I am no expert, but think he may be right. When I was ill with you I talked about you all the time. Then wrote about you all the time. Writing and talking about depression is much harder for me. (We can maybe talk about the reasons another time.) But you, cancer, you were the one who changed everything. You were the one, you see. You changed the way I read, the way I believe, the way I am in my body, my family. I still stand by what I said: you made me pay attention. Though you taught me more than I ever want to know, I still don’t think I can say thank you.

Anthony Wilson, Dear Cancer

dreams passed through me like miracles
is it still the same life

James Lee Jobe, is it still the same life

infinite nightmare storage system
to make space in my life
for the ancestor

cola-pen calligraphy
tiny little pamphlet books
close to our hearts

Ama Bolton, ABCD late January 2021

Given my inclination towards the ruthless, I’d imagine the answer to that question would have been – chuck them straight into the recycling bin. As for reading them, just don’t go there.

And so, why, when I did find a small clutch of loose pages of poems under old papers at the bottom of a drawer unexplored for years a few days ago, did I find myself flicking through them and then settling down to read? A self-indulgent, weak moment, certainly. What did I hope to find or learn? I didn’t know. It was eerie, looking at things typed out more than forty, in some cases almost fifty years ago. Who was this person? Not me, surely. And what, after the reading of them, made me think about, not only keeping them, but putting some of them up here for public consumption? Perhaps because it’s what this blog should be about – a writing life, to include the naive, potentially embarrassing attempts, as well as those you believe might have a little more value.

Bob Mee, WHAT DO YOU DO WHEN YOU FIND OLD POEMS YOU THOUGHT WERE LONG THROWN OUT?

the sargasso sea 

the words that are becalmed
the plastic words
the slippery elver words
the journeys ahead for them 
even
the ones that slowly sink longingly

Jim Young, see

I want at last to be honored,
not for me, but for the work

I’ve done, for the moments I have
recorded, for the light I have

praised, the trees I have sung of,
the birds, oh, yes, the birds. That these

least small things shall not be lost,
I want at last to be honored.

Tom Montag, I WANT AT LAST TO BE HONORED

The woman gestures, one hand

near her lips and the other as if drawing
a curtain aside. That’s all we can really do

until the rider looms closer on the plain.
We can see the sparks from his horse’s hooves;

then there’s no mistaking his cloak of bitumen
or his slate, marked with names and numbers.

Luisa A. Igloria, We Don’t See Death Until After it Arrives

Still life has been referred to as a world on a table, planet on a table, and that seems to help me sort out my thoughts. There’s so much chaos. At least on the table of things, order can be found or made or at least composed temporarily. […]

So yes, I keep thinking about how everything in our lives is getting arranged and rearranged on the regular. We get laid off from our jobs, we’re called back, only to be laid off again. Or we’re kept on, in my case, but the job is radically different. The numbers are high and we’re told to stay home, then they drop and guidelines are relaxed, then it’s all reversed. You all know how it goes by now. You had one plan, and now you have another. You looked forward to this thing, and now you tend to look forward to other smaller things, closer to home.

In a still life, you move one object, and three more slide off the table. A glass gets broken occasionally, or the unwinding rind of the lemon becomes detached from the fruit and you stick it back on with a toothpick. Scotch tape is hauled out. A dish is propped up from behind by a couple of walnuts. Everything is too much. You start to subtract. You go minimalist, and that’s fine for a bit too.

Shawna Lemay, Rearranging Things

Things I cannot fix,
an incomplete list:

armed militias.
Global pandemic.

The grief of staying apart
and unbearable yearning.

Rage at insurrectionists
and anti-maskers.

Things I can fix:
lunch for my child.

This winter stew, meat
from the freezer

and dried mushrooms
plumping in hot broth.

Warm speckled rye dough
pliant beneath my hands.

Rachel Barenblat, Fix

I haven’t been able to write this week.
I’ve been unraveling from the edges that brush against the world.
The softness falls away, and I am a skeleton of splintered glass.
Balancing fractured surfaces upright.

I took a course once on trauma and movement and the instructor said something that shifted my perspective. Drama teachers I’ve had, and have worked with use a standard image during warm-up sequences: “Now roll up: one vertebra at a time. Stacking one on top of the other.”

An upright stack of bones being pulled toward the earth.

But the body doesn’t work that way. You cannot stack a skeleton. Not in death. Not in life.

We are suspension bridges.

I think about this image a lot. I come back to it when I feel heavy in the world. We are animated by opposing tensions. Naturally pulled in varying directions as we go about our days. It opens us. Our ribs open and lift like wings when we breathe.

Ren Powell, Suspension

When I say I hear your voice across the miles, what I mean is river, moon, sage, sermon, orchard, wish, and wilderness.

In other words, simply knowing there is room in our beings for the ethical and ethereal, the earthbound and unimaginable, is all I need right now.

Put another way, knowing we wander this earth together at this time in history might not be the inoculation I need for a pandemic,

but it is the perfect medicine for my heart.

Rich Ferguson, Heart Medicine

Poetry Blog Digest 2021, Week 5

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: shadows of the past, shadows in the present. Parents and children. Grief and joy. And, as always, books and journals.


For the last six years I’ve worked as a teaching assistant in a primary school. Last week, one of the children in our class tested positive. So, suddenly we’re all at home, working online. It’s been a strange week, one where time has slowed right down, where I’ve felt a deep longing to be outside, cold as it is, with the wind scouring my cheeks and the dog at my side, uncertain about whether he really wants to be out in the harsh weather or inside, curled up in his bed by the radiator.

Today it’s my birthday and I still can’t go out. I’m watching the wind blow tiny flakes of snow across the garden, watching how it whips round on itself, changing direction. Earlier, I put extra food out for the garden birds and then watched as the jackdaws sailed in from nowhere, borne on this bitter East wind, hardly flapping their wings at all, just cruising in to take what they wanted. Not that I begrudge them. In fact, I quite like to see them: stooping, ponderous, unhurried.

My mother likes to remind me that when I was born the snowfall was heavy and treacherous.

Julie Mellor, February

Late yesterday afternoon, I made this Facebook post:   “It is the eve of the feast day of St. Brigid, and just today, I came across the tradition of Brat Bhride: leaving a cloak or a piece of cloth or a ribbon outside the door for Saint Brigid to bless and give healing powers.”  One website said that a red silk ribbon was preferable.

Just before Christmas I was awash in red ribbons, but yesterday afternoon, they all seemed to have disappeared.  Happily, I was able to find one in a stack of paperwork, a little scrap of glittery red ribbon.  So I left it outside overnight, and this morning, before dawn, I retrieved it.  I’m not sure what to do with it now–carry it with me at all times?  Put it back in the stack of paperwork?

It says something about the past year that I went looking for a red ribbon.  Most years, I’d have read about these ancient customs and thought they were charming and given them not another thought again until next year.

This year, with new strains of the corona virus burning their way through the nation, I decided it wouldn’t hurt to get extra blessings any place I could find them.

Kristin Berkey-Abbott, The Feast Day of Saint Brigid in a Time of Raging Virus

We glide effortlessly on the wings of Saturday park laughter.

At one point, my daughter insists we go shopping. She directs me to a tree rising from the earth; a massive congregation of green.

My daughter and I gather stray pinecones; they become fruits, vegetables, and toys. One we call strawberry. Another we joke is a Malibu Barbie sports car.

Again, those wings of laughter lift us far above our concerns of needing to wear face masks and maintain a healthy distance from others.

Right then, my daughter is so overcome by glee she wraps her arms around my knee and hugs me.

Years from now, I’m not sure what she’ll remember of her four-year-old life and these pandemic days.

What I do know, however, is that forever engraved within me will be the blueprint of my daughter‘s embrace.

Rich Ferguson, We run, we play

There is a layering here: the past is a dangerous place to wander, somewhere the unwary, careless traveller might get lost or worse; but it is also a dangerous animal guarding and protecting those who are dead from those who are living. There is certainly a sense, here and elsewhere, that the dead are in need of such protection because of the need the living feel to take possession of the past for their own purposes. [Maria] Stepanova notes at one point “This was all about her (Stepanova) and not about them (her ancestors)”, and at another she confesses to being “horrified and offended” at her father for not allowing her to quote from his letters in her book. Her ruminations on her father’s refusal are a good example, not only of Stepanova’s remarkable self-awareness and clarity of thought, but also of her ‘poet’s sense’ for metaphor which runs through and enhances the book. Considering her evolving relationship with her father’s letters, she says 

Without being aware of it, I had internalized the logic of ownership. Not in the sense of a tyrant, lording it over his hundreds of enslaved peasants, but perhaps like the tyrant’s enlightened neighbour, with a landscaped park and a theatre in which his serfs acted and sang.

And with this understanding of the power the present has over the past, we also come to realise our ancestors’ inherent vulnerability (“The dead have no rights”), because whether the tyrant is enlightened or not is entirely a question for the living.

Chris Edgoose, Everything Rhymes: In Memory of Memory by Maria Stepanova

It’s been more than a year now since the last time I visited San Antonio. In a normal year, I would take my kid there a few times a year to see my dad and my brothers. The last time I went, I went alone for the unveiling of my mother’s headstone.

I promised my dad that I would come back soon with my son. A few weeks later, we started hearing about something called novel coronavirus. Soon we were sheltering-in-place to slow the spread. For a while I thought it would be safe to go back to Texas by summertime. Then it became clear what we were facing…

I don’t want everything I write to become an elegy or a lament. This was supposed to be a light-hearted remembrance of an old record and my old record player! But all paths seem to lead to remembered loss, or to the ache of yearning for something that isn’t yet possible.

To meet my father and brothers for Mexican breakfast at our favorite brunch joint in the old neighborhood. To visit my childhood home where my parents haven’t lived in decades. To hug my mother who’s no longer here. To hug my beloveds who are (thank God) still alive, but we can’t safely touch. 

Rachel Barenblat, The San Antonio Song

Donna Vorreyer in Limp Wrist Magazine – Refusal

My brothers and I
crying in the car so my father wouldn’t see. Watching her go, their

sixty years flashing before him, he bent his head to hold her hand
through every visit. She wanted to come home. 

Comment: One of life’s hardest passages is watching your elderly parents go through sickness and separation. Pull out the tissues before you read Donna’s heartbreaking poem.

Charlotte Hamrick, Poetry That Will Drop Your Mouth Open

I’m taking a bit of a social media hiatus now that the election is over and my plate is full with hunting for a condo and working on the new and selected poetry collection due out in 2023. That means I neglected to mention that I have a brand new poem called “Roosters and Hens” in Limp Wrist’s special Dolly Parton 75th birthday tribute issue. You can read my poem at this link, but be sure to read the brilliant work selected by Dustin Brookshire and Julie E. Bloemeke for the issue.

I’ve been a Dolly fan since I was little kid and I’ve had the great pleasure of seeing her in concert a couple of times. She’s always been a touchstone, so I’m tickled that I now have a poem to honor that. 

The poem almost didn’t happen. I wrote a much longer draft before Christmas and couldn’t figure out how to cut it. I even wrote an entirely different poem about an entirely different person (Mary Bailey from It’s A Wonderful Life – hopefully it will have a home soon, too!) to try and clear the cobwebs, since my output in 2020 was practically nil. 

While I was on a socially-distanced getaway after Christmas, I sat in my little motel room in Mountain City, Tennessee and finished the poem an hour before the deadline. Whew! 

Collin Kelley, New poem “Roosters and Hens” in Limp Wrist

I phoned Bob this week, after years of thinking about him, sending and receiving Christmas cards. Happily, joyfully, he’s well, in his 90s now. North London’s still audible in his vowels, although he moved away, as I did, years ago.

When we met, I was 5 or 6 years old, and he was around 40. He had been widowed: devastated by the death of his first wife, and turned up at my father’s church, looking for consolation. I was bored, hanging around, at a loose end while something was going on: prayer, singing, meeting, adults chatting – something a 5-year-old couldn’t, or wouldn’t, share. 

There I was, small, awkward for my age, idling, waiting (it turns out) for a hand to hold –  metaphorically, emotionally, psychologically, and literally. 

“I noticed you,” Bob recalled towards the end of our conversation, “and prayed that you would come and hold my hand. And you did.” 

I thought, momentarily, of naming this blog I Answer A Prayer, but my views on prayer are complicated. I realise this is one of the reasons I haven’t phoned Bob for so long. I didn’t want him to be disappointed that I’ve turned out poet, not angel. 

Liz Lefroy, I Phone A Friend

All morning,
wind against

the house. Winter
birds hidden

in their bushes.
The grey fields,

the grey sky.
Grey sorrow.

Hawk in his
tree, speaking

to death, death
speaking back.

Tom Montag, All Morning

This week, I dedicate this post to the memory of Alfonso M. Gomez, father of friend and great poet, Rodney Gomez. I have admired Gomez’s work for years now (here’s another point of connection and another). I have shared his work in classes at both the undergrad and grad level (his “Our Lady of San Juan” is one in particular that keeps teaching me). He has also been kind to my work as well.

Along with poetry, we share South Texas between us. Much of my childhood was spent with driving from Corpus Christi to Matamoros, often stopping to visit folks in Brownsville, where Rodney himself was born and raised. Through South Texas, we have mesquite trees and hot summers and community forged through a mix of perseverance, hard work, and hope. Now, we are connected in absence.

Life in the pandemic has made it hard for me to reach out to everyone I would like to when I would like to. I saw news of Rodney’s father passing online and sent my condolences to him. When Rodney later shared the art piece below, which he said was inspired by my poem “Scripture: Hour,” it is not enough to say I was moved. I felt seen. This particular poem–one of a sequence of poems that engages with how little I know of my own father’s death, down to not knowing what day he died–was a hard fight to get right.

José Angel Araguz, in memory: Alfonso M. Gomez

My mother died recently, and I was grateful for all the emails, phone calls, and Facebook comments, people moved to reach out to me, to touch, electronically. I was moved. And I was amazed that a ton of people sent me cards. It was so lovely to receive these bits of paper and color through the, let’s face it, miracle of the US Postal Service. It was startling and thrilling to see, of all things, people’s handwriting! The loops of one friend, the scratch of another dear soul.

Wow. That all these people took the time to stand in front of a selection of cards at some store, trying not to breathe in someone else’s Covid germs, debating whether this card was too sappy, that one too cute, then took it home and, I would bet, to a person, paused, pen clutched in curled fingers, thinking “what on earth will I say??” And then they commenced, and said in black pen or blue all number of lovely things, including just “thinking of you,” which was true and warming.

And the signatures! Do I sound like a lunatic?

But this evidence of our selves, our scrawly names. In these typefaced days of electronic signatures and stock emojis, of typing someone’s address or phone number into your phone rather than have them scribble it on a scrap of paper, the distinctiveness of handwriting has been hidden. It exists. We all haven’t collectively forgotten how to write. Although I do hear that children are no longer taught to write cursive. We all still, at some point or another, put pen point to paper, and the heft of pen and hand and arm, the wick of inkpoint, the tautness or looseness of loop or line are an intimate part of us.

It was a tender moment for me to see this evidence of my friends on paper, to see in their lines, thick or thin, even or jiggly, their thoughts of me, and of course, as the death of a mother is a big event for everyone, their thoughts from within themselves and their own experience of loss or the anticipation thereof. Stunning.

Marilyn McCabe, Sit right down; or, On Handwriting

looking for the reflection of self

the other half of the ticket for the ferry
to cross over after you
on the other side of me
the doppelgänger of a smile
in the mirror that brings death to life

i nearly said life to death

Jim Young, i nearly said

Just when I thought nothing could be worse than January, along comes the first week of February.

Granted, no insurrection and murder at the capital—but this past week was brutal. For me, personally. And it seems there’s a lot of struggle in the zeitgeist over the past seven days. A lot of folks saying they’re hitting a wall of some sorts. If that’s you, I feel ya.

So, I got nuthin’ much for you this week. Any words I might have mustered on pretty much any topic would have been soaked in bitterness, pessimism, and dank, sour defeat. I muted several folks on Instagram back around Wednesday because their relentless exhortations to adjust my attitude and find joy and manifest and transform and dream felt like an assault.

I fuckin’ know how to look for joy, y’all. I. am. doing. it. all. the. damn. time.

I feel increasingly hostile toward those who do not acknowledge systemic causes of illness, burnout, and general failure to thrive. Although I’m not a working mom any more, I felt every word of this article that’s been making the rounds. Especially these few:

A critical first step is to remind yourself that the reason you feel guilty, apathetic and exhausted during this worldwide crisis is due to choices that were made by people other than yourself.

At the same time, I realize that we all do get to make choices. Sometimes we don’t have very good ones to make, but we almost always have some. This week, I chose not to write.

Rita Ott Ramstad, Of walls and hitting them

I read two great poetry books this month. Meg Johnson’s Without: Body, Name, Country (Vine Leaves Press) presents poems and flash creative nonfiction that explore identity, illness, and politics. Broken into two parts, the first section offers poems that explore various personas, while the second presents memoir the author’s experience with a harrowing illness in the form of short, evocative flash pieces.

And the Whale by Sonya Vatomsky (Paper Nautilus) is a gorgeous chapbook, filled with powerful poems that weave mythology and Russian folklore into an exploration of love, sex, grief, and trauma. I was personally in love with the persona of the Widow, who features in several poems that examine the shadows of the past.

Andrea Blythe, Culture Consumption: January 2021

Many of the women I know feel like we’ve “been through something” during the Tr*mp administration. The very good reason for that is that we’d already “been through something” (likely many somethings), and recent years scratched those vulnerabilities raw. They made us aware more than ever of the molds we’re meant to fit and the difficulty of navigating them, something we’ve been doing all our lives.

Much of that has to do with sex. The adventures of it. Its hazards and manipulations. Parts that entice us. Parts that repel us. How we see ourselves inside that context. How others see us in it (and if they can see us outside it). For example, “Truckers honked around us, past us. We waved to the cute ones, hiked our skirts higher on our pale thighs.” We age into sexualized versions of ourselves, age a bit inside those years and then just age.

A new chapbook, We by Sarah Freligh (2021, Harbor Editions, Small Harbor Publishing), interrogates those spaces: What say do we have? What do we claim as our own? Here are some poem titles with answers: “Those Girls.” “Good Girls.” “A Kind of Magic.” “Goddesses.” In just 16 poems, We takes us through all of those and more. “We” are those girls. In any combination. Or one at a time. Or none at all. And “we” are made appealing for ourselves instead of any “other,” though we go through some things figuring that out.

We is a balm for that — beginning with its dedication page, which reads, “All the girls, everywhere.”

Carolee Bennett, “kind of lovely in their shadowed dark”

As a global community, a nation, and as individuals, we are navigating grief. For some, it’s the loss of a family member to COVID or their employment; for others it’s the loss of the vacation or dining at a restaurant. I’m not casting aspersions at anyone. Grief is complicated. There truly isn’t a grief olympics.

Grief stitches itself into a person and leaves the ends of the thread hanging out. Sometimes, you feel the twinge of the deeply-seated stitch of the loss of your father six years ago. Sometimes, the dangling thread catches on a current moment and you cast books from your shelves searching for an ephemeral gift from a newly gone friend. Your response to “Did you maybe throw it away?” is a wail of “I didn’t know she was going to die!”

Grief challenges our ideas of how our lives are meant to be – of course our good friends, our spouses, our beloved pets will be with us always, of course our lives will continue forward with total freedom and no mass casualty events like a pandemic. For most of us, we don’t have ready tools to move forward in grief because we have never imagined a scenario where we would truly suffer loss. Grief always catches us by surprise, even if the person we lose is 93 years old, even if we know, though do not acknowledge, that everything is always changing. Sometimes we are mourning the loss of what we thought would be.

I try to write the grief out. Write about my father, about my friend, about a dream (and livelihood) on hold, the ravages of cancer. I try to reason my way through to the other side. But there is no other side.

Erin Coughlin Hollowell, The persistence of grief

My visiting writer gig at Randolph College started yesterday. As the Pearl S. Buck Writer in Residence (virtually), I’m teaching a 4-session workshop each Thursday night in February, 7-9pm. There are only 4 members, all advanced poetry students, so it’s a pretty nice gig. The topic is “Haunted and Weird,” since the organizer told me these students were also jazzed about speculative fiction–but also because strangeness and surprise make for complicated, interesting, powerful poems. […]

Here are some poems they had to read for class, as well as each other’s drafts. I also asked them to be ready to explain which poem unsettled them most and why.

– Emily Dickinson, “One Need Not Be a Chamber”

– Paul Mariani, “Ghost”

– Margaret Atwood, “Morning in the Burned House”

– Christopher Kennedy, “Ghost in the Land of Skeletons”

– Janice N. Harrington, “Shaking the Grass”

– Mary Oliver, “The Mango”

– Shane McRae, “Whose Story of Us Is We Is Told Is Us”

– Derek Sheffield, “Monsters”

I started us off with “Monsters,” which triggers all my parent-fear. One student named Mariani’s “Ghost” as the most unsettling–that’s another poem full of guilt, and very crafty in how it sets up situations and then dissolves them. For everyone else it was “The Mango,” in which the speaker hears voices–and yet it’s more political than supernatural. One way all of these poems are shifty: what’s “real” is up for grabs, although there’s plenty of realistic detail within them.

Lesley Wheeler, Haunted and weird poetry: a lesson plan

As I watched Trumpism wash through America, I thought again and again: “what was my contribution to this? How did I make this happen, or allow this to happen?”

Well, the answer was clear. I had a least one devoted reader who was also a devoted Trump fan, and I recognized at once that I was appealing in exactly the same way Mr Trump was. I used to practice a sort of diaristic magical realism. I talked to stars and mountains and ghosts. Something that appealed emotionally got free rein, and if facts got trampled in the process, who cares? Other people would take care of the facts. I was busy with the realm of the emotions and of the soul. What I was interested in was joy and delight. Nothing else mattered, not really.

And so I was shocked into silence, inward and outward. I didn’t want to be part of spreading this poison. I mistrusted myself deeply. I stopped my supposedly harmless riffing on supernatural themes. No, I’m not meeting Vajrasattva in the parking garage. No, I am not conversing with ghosts. No, I am not dissolving into the wind. I’m someone who washes his hands and wears a mask and is determined to get the vaccine, because viruses don’t give a damn about Vajrasattva and never have. Misty devotion to to deities such as the Great South Wall Protector lead straight to children in cages. The hell with misty devotion. The hell with deities. I’m trying to keep my family alive. 

When I was setting out in life, the Enlightenment looked like a done deal. Everyone acknowledged the primacy of science. I gave myself to old books and old stories, partly because I already loved them, and partly with a sense that the post-Enlightenment world was losing something precious: that a salvage operation was in order. That we were throwing sources of joy and wisdom out, as well as sources of superstition and bigotry, The march of science was inevitable: it had the backing of the liberal West, of Soviet Communism, and of global Capital: how could it falter? It needed no help from me. I could wander among the wreckage of our cultural past, find lost treasures in the rubble, wash the mud off them and hold them up to the sun.

And the treasures are there, sure enough. I was right about that part. But science, reason, rationality, commitment to what can be ascertained and confirmed by rigorous experiment — they turned out to be as fragile as the treasures I was hunting. I had misunderstood. It was all fragile.

The joy blew out like a candle, and I lost my place. I read political news in the morning, instead of poetry. I begin a novel and drop it impatiently: they’re just making stuff up. Anyone can make stuff up. The hard thing is sticking to the truth.

I don’t quite recognize myself, in all this, and that’s probably a good sign.

In order to arrive at what you are not
       You must go through the way in which you are not.

Dale Favier, Losing My Place

Like [Dean] Young, I admit to envy of my visual artist friends. Here is my painting of some pears with a lemon. Here is my sculpture of a man in a decaying suit. They have the ‘opportunity to interact with the medium [of their creation] in a primal, physical way.’ This physical, primal method of creation, this disappearing into the bombed cathedral to vandalise what I have created in order to make something new, is what I have long longed for in my practice.

I think of my books of poems and I think of the pain of birthing them, not the individual poems, but the the ripping apart and stitching back together of sequences, for the first four books, with intense help from others as my small-minded control-freakery threatened to refuse to allow them what they wanted to become. Four books. By the time of the fifth, I told myself I had learned how to proceed. (I hadn’t; I almost blew it.) My favourite part of book five was realising I needed to rip it apart and start again. And, just when I thought I had rescued it, to begin yet again.

So, I say pain, but I don’t really mean it. What I mean is fun. Ripping poems apart and interrogating them till they tell me what they need to become. Ditto the books. I spent part of yesterday taking one of Spurrier’s sanders to a poem that I had previously thought of as inviolable. I have plans for others. The bombed cathedral. It’s the only place to be.

Anthony Wilson, The bombed cathedral

Yesterday we ran along the beach. The polished stones each sheltering a patch of snow. The tide pools frozen, ostensibly lifeless. E. pointed to the lighthouse on the island in the distance. The ship nearby. Both appearing to hover over the ocean.

The cold wedges itself into our reality. Pulls the pieces apart.

The cold is a serpent that creeps over the earth, that pulls it from itself. Islands float on air, we float from one another, shivering. Closing our doors. Shuttering the windows.

E. explains how the cold settles in the hollows. How it clings to the ground and creeps. You can dig a hole to trap the cold outside your threshold. Like you might any other animal bound by gravity.

I can hear the cold
its infrasonic growling
filling the basement
rumbling in dark corners, like
the dog who wants to pile-on

There’s no need to
appropriate magic.
Notice, and believe
in the world as much as you
believe in flesh and blood.

Ren Powell, When Islands Hover

When I was child, in that weird time when memory is just beginning to form, I was obsessed with a black and white checkered volume of illustrated Mother Goose tales.  I carried it from room to room until it fell apart, staring at the pictures, imagining each story based only on the visuals. It would be a hot minute before I could read it.  Before I learned the alphabet, which my dad would have me recite in exchange for a pack of Rolos.  (thus my long trajectory of bribing myself to write with chocolate.)  I’m sure the bribing only happened once, but I remember the feeling of accomplishment as he handed over the candy.  I landed in kindergarten knowing the letters, but it’d be a year or so til they started making sense as words, as patterns, as something familiar. Waiting alone  in the car while my mom was in the store (because yo, it was the late 70’s), I remember the exact moment the orange-lit words on the Jewel-Osco sign made sense and suddenly the code was broken.  I spent the next couple years writing out letters on those lined newsprint tablets, perfecting a neatness I never exhibit in my scrawling. While I had spent years before obsessed with pens & notebooks,  drawing squiggled lines and making up stories, now I could do it for real.  

On the phone last night, my dad tells me the story of how he kept getting in trouble in elementary school for not paying attention to lessons and instead writing ghost stories surreptitiously at his desk. Suddenly, a secret question was long-answered.  Where this all comes from.  The need to tell stories.  My mother would, when alive, regularly to others say about my writing or my smarts, we don’t know where she gets it. My mother was less of a reader, her enthusiasms tending toward True Romance magazines, but then only on vacation when she could unwind. Words, however,  were always in the house, but the kind varied. Hunting & fishing manuals.  National Geographics. Horror novels passed off from my aunt. Later, overloaded trips home from the library. I had always known my dad was a big reader, even now when a lot of that reading happens online. But I’d never know about the stories. Those similar tendencies that show up, even without having made themselves known. 

Kristy Bowen, roots

Gypsum and karst my consonants;
pine and mountain-fed streams, my vowels.
My syntax and speech of copper-mined and gold-
veined hills; the craggy, rain-soaked vowels
that won’t stop stippling the ceilings.
My tutors: stonecroppings and terraces,
ochre-traced sunflowers; the flint-tapping call
of the mountain shrike. My avatars: stick
shift jeepneys, five of them crowded into
two-lane roads. My aubades from hot
bean curd vendors, the molasses of their song.

Luisa A. Igloria, Lexicography

What I remember most is that I was really feverish for a few days and for some reason the name of the ‘Avant Garde’ composer Cornelius Cardew popped into my head. I looked his details up and found that he died in the early hours of 13 December, 1981, a victim of a hit-and-run on Leyton high road, on the humpback bridge next to Leyton Tube station. Conspiracy theorists claimed that his politics made his death suspicious. One can’t really blame anyone for thinking that, given that it was round about the same time that Hilda Murrell was bumped off (though a local man was subsequently convicted for her murder).

At the time of my illness, I’d just started reading an Amy Clampitt collection What the Light Was like, published by Faber in 1986, and, immediately after looking up Cardew on my phone, I opened the book on her elegiac poem ‘A Curfew’, about the day that her brother Richard, a doctor, died, at the age of 56. The poem is subtitled ‘December 13, 1981’. The billions-to-one coincidence was increased by the fact that ‘fever’ occurs three times in the poem, including as its opening word.

Matthew Paul, On coincidence

So, things have been rough this week. It’s been dreary, rainy, and too cold to go outside much. America hit the 450,000 mark in people that have been lost to covid, as variants with higher contagion rates and seemingly slightly more dangerous consequences are spreading around the world.

Washington State has still got a shortage of vaccines, and they don’t seem to prioritizing the chronically ill or the disabled. I’ve been struggling with anxiety about that and at the same time, trying to get better from a sinus thing and a stomach thing (not covid, just the result of my normally crappy immune system.)

Meanwhile, a literary magazine I’ve respected and longed to get into for twenty years, about ten months after my work appeared in it for the first time, decided to publish a former professor-pedophile who abused students and kept a gigantic collection of child rape films. This triggered a lot of sadness and anger from a lot of abuse survivors, including me (I was raped when I was six years old). The literary magazine then published a non-apology. The whole thing left me feeling sick and disappointed in the poetryworld. Meanwhile, I’m sending my manuscripts out into the world, hoping for a good press to pick them up. Have we decided what a “good press” means to us?  What are we even hoping for?

Jeannine Hall Gailey, Envisioning Better Things

This is the first of a mini-series about print poetry magazines. Although I do my quarterly spreadsheet, there’s no room for any description of the mags, so I thought it would be nice to feature some of my favourites as a reader, where I like to submit myself and what I subscribe to. […]

The other day it was time to subscribe to some new titles, and I decided to give PN Review a proper try. I’ve only ever read the odd single issue, and I found it a bit academic. But now I’m getting into the academic mindset, perhaps it’s a good time to try it again? PN Review hasn’t arrived yet, but I’ve also just subbed to Butcher’s Dog, a small mag, but with a big bite, perhaps. I sat next to editor Jo Clement at a Poetry Book Fair once, and came away with a couple of back issues. Here’s what came in the post yesterday. My favourite poem in it is ‘I crossed the Humber Bridge without paying’ by Rachel Bower

Another magazine I want to give a shout out to is Prole. Edited by Brett Evans and Phil Robertson, Prole has been going for some years now and they have a unique system as regards paying contributors which I admire very much. Basically, instead of offering contributors a free copy of the issue they are in, they give contributors a share in any profit an issue makes. So as a contributor you’re given a PDF of the mag, but if you want a hard copy then you buy it. Your buying it then helps grow the potential pot that ends up being shared amongst contributors. Or you can opt to let Prole keep it for their funds, but that’s entirely up to you. We’re talking a very small amount, but it’s the principle that counts. More power to Prole! I do have a couple of poems in this latest issue, which I’m very pleased about, as they were both a bit ‘out there’, and I had a feeling they might sit well in the magazine. There’s a lot of prose in Prole, if you’re interested in that too.

Another longstanding poetry magazine with great character is The Frogmore Papers. It’s packed full of poetry and is, I think, unique in publishing micro-reviews (which I really appreciate as a reader, but also contribute to occasionally). The magazine features covers by local artists and has a ‘sister’ online publication called Morphrog – can you see what they did there?

Robin Houghton, On poetry magazines: Butcher’s Dog, Prole, Frogmore Papers

After over 30 years, Patricia Oxley is standing down as Acumen’s editor. Danielle Hope, who’s long been connected with the magazine, will take over. I wish them both luck.

I suspect that Acumen’s loyal readership is on the older side. I’ve been a subscriber for a long time. I’ve had several poems, letters and the odd article in it – worthwhile pieces (in my opinion) that I’d have trouble placing elsewhere, especially nowadays: pieces that non-poets might like.

The extensive reviews section (35 pages in the current issue) is very ably managed by Glyn Pursglove. It doesn’t rush to cover all the latest stunning debuts. It also deals with translations and the work of established (though perhaps not fashionable) poets (Etty, etc). Books by, amongst others, Ni Chuilleanain and Longley are reviewed at length in the current issue.

Having a letters section (with maybe 4 months from submission to publication) may seem quaint in this Twitter age. The letters are often mini-articles though.

Tim Love, Acumen

You have continued to launch and promote your poets’ work. How have you managed to stay motivated?

I’m not good at doing nothing. I like keeping busy and having a sense of purpose. I also have a strong sense of responsibility and generally find it’s easier to promote others’ work than my own. The sheer volume of possible marketing and social media sharing etc can become overwhelming though – it is a potentially 24-7 job. I think prioritising and routine help here. V. Press has been running over 7 years (over 5 years publishing solo-authored pamphlets and collections), so I’ve tried and tested what’s most effective. I mostly stick to that, but then also explore a few new possibilities regularly as and when appropriate. During covid-19, this has included eBook versions of some of our flash fiction titles and an expanded winter sale.

Is it easier to enable others than yourself when it comes to writing?

Yes!

What non-writing ways do you think poets can feed themselves with when the muse has packed up her bags and gone away for a while?

I’m a firm believer in ‘two birds with one stone’ and ‘not having all one’s eggs in one basket’. I think anything anyone loves outside of writing is joyful in itself, a potential source of inspiration, and hopefully replenishes energy, which may then be used for new writing.

For me this includes:

Reading – always a source of inspiration as well as enjoyment. (Reviewing for a journal can help give me an added focus and permission to prioritise reading over more mundane chores or tasks.)

Exercise (walking, swimming, cycling, running) – the feel-good hormones are a mental and physical health boost. Wherever I exercise, in moments of boredom (or concentration on the movement), I often find my subconscious will start playing with editing options or ideas for new work. The exercise pace can be especially useful with rhythms in poetry. If I’m outdoors, there’s the extra bonus that I’ll often notice something in the world around me that makes me stop to take a photograph or provides notes for a new poem.

Painting – because I’m a novice painter, the creativity of painting is less fettered by the critical editing eye that is always there when I’m writing. So, it’s much easier for me to replenish creative energy this way, that then often re-sparks the urge to write.

Photography – as with painting. except the critical part of my brain interferes more. But, in contrast, I’m more likely with photography than painting to then be inspired to combine text with an image and turn it into a haiku-influenced photo-poem.

Meditation/Pauses – I try to start each day with a ten-minute meditation. (I use Sam Harris’s Waking Up course as a framework https://wakingup.com/.) This often brings me a sense of peace, greater perspective and reminds me to be grateful for all the small things that make me smile, laugh or feel good. It’s easy to forget that there’s joy and wonder in simply being alive, breathing. If I get stressed or agitated during the day, I’ll maybe try to do a small pause, tuning in to each of the five senses in turn. Occasionally, inspiration for a poem will also arise from these, as if from nowhere. But, for me, this example isn’t really about writing directly, it’s about re-energising and re-grounding for whatever the day brings, including hopefully some writing!

Abegail Morley, Creativity in Lockdown: In Conversation with Sarah James

Mid-week I attended a reading put on by the folks at Seren, Jonathan Edwards and Gillian Clarke both read wonderfully, as well as a host of open mic folks. I had totally missed the invitation to take part in the open mic, so missed my chance to say I’ve shared a bill with those two. One day perhaps!! I am at least two books behind on Gillian’s work, so I’d best do something about that.

I do miss reading aloud to people. I can’t imagine we’ll be doing a Rogue Strands night for a while yet, sadly, but I have bagged a slot at a Zoom-based evening of poetry that’s been organised by my local beer shop. A perfect combination for me, I reckon…Who knew, but one of the chaps that works there is also a poet.

Friday night, I watched Derek Mahon, The Poetry Nonsense on BBC two. I am ashamed to say I don’t know much about Mahon, other than how well he is/was respected. I have a selected Mahon by my bedside ready to read, so I will get there eventually, but he came across as an interesting if troubled soul in this doc. I think, however, it was leaving a lot more out about the man. I guess that may come out when I get to the poems.

I think the doc will be on the iPlayer for a while yet..get yerself over there and get it watched.

However, before I bugger off to get on with cooking dinner I shall leave you with a quote from a book that is t the top of my reading pile, eg I am reading at the mo…It’s also another Derek, the mighty Derek Walcott. I saw this opening to one of his poems last night and it seems apt for the world as it stands at present.

“The starved eye devours the seascape for the morsel
Of a sail.

The horizon threads it infinitely.”

They are the opening lines from ‘The Castaway” and have made me desperate for the smell of salt in my nostrils, they’ve made me desperate to get back to the coast of Norfolk, but I’ll settle for something outside of the streets of Beckenham.

Christ, I want to go to Walcott, Derek.

Mat Riches, The Dels

In Heather Seller’s wonderful craft book Page After Page (or its sequel, Chapter After Chapter), she tells a story about sending her work out once a year. It’s like getting all the little ballerinas ready for a recital, she writes. Lots of polishing and fixing of hems, adjusting of tiaras. Getting those toe-shoes on and telling everyone to smile. Then shooing them out onto the stage

That’s what it feels like to me, too. Before anything goes out, I feel a need to read it out loud and make a few adjustments, changing a line or a word here–sometimes rewriting an entire poem. Knowing that complete strangers are going to take a close look at my darlings makes me take a closer look at them first.

The exciting bit is that sometimes I find a slight-ish feeling poem that has made its way into the submission file, and this process results in an overhaul.

If you ever check my ancient blog (now called One Bad Poem), you’ll find poems I’ve culled from the send-out book over the years. But just as often as I set them aside, I revise them. So, this past week, a slight poem about a woman waking up from a dream into an unreal world became a Covid-19 / mask poem, much bigger in its reach. It doesn’t feel slight any longer, and it immediately went out (“to some lucky editor!” as Professor Bentley used to say).

Bethany Reid, The Resolution

Over here at Rogue Strands Towers, we’re always looking out for a decent excuse to sideline all our commitments and dive into poetry blogs. Of course, this feeling only grows as the pandemic rumbles on, so I was delighted to discover Bob Mee’s terrific poetry blog (see what I mean here) a few weeks ago.

I might be late to the party, as his blog’s been going for a fair while now, but the excellent news is that I’ve thus had loads of top-notch reading matter to get through. Bob Mee’s been involved in poetry for decades, and I’ve realised he even published one of my poems back in 2004 when he was running iota magazine (via Ragged Raven Press) with Janet Murch. His experience, knowledge and astute vision of the genre shine through in every post, whether reviewing, commenting on news, posting original work, etc, etc. All in all, his poetry blog’s a gem and I thoroughly recommend it. 

Matthew Stewart, Bob Mee’s poetry blog

I’ve been blogging on this site since 2008. (I have a limited reserve of consistency, and what I do have I use up on this blog and the gym.) Lately I’ve been kicking around the idea of putting together a book of essays from some of my posts, but there is a huge amount of material to comb through and I don’t know if it would be interesting to anyone. I don’t know if my yammering about nonsense and complaining about the shoddy state of retail is enough to warrant an entire book. Also, it seems a little grandiose, as though I think that what I have to say is so riveting that it all needs to go into book so that the whole world may have easy access to all of my amazing thoughts. (This attitude is probably why I never gained much traction as a writer.) Nonetheless, I’m still considering this book thing. There are certain Big Themes that have emerged over time that I could work with. Or I could just go full fluff and make the entire book about my exploits in Stardew Valley. Stranger things have sold.

Kristen McHenry, Gateway Peanut Can, Book Musings, Gym Bag Envy

The Emperor penguin broods a substitute rock because the rest of the flock need him to stay with them and play his part in keeping them all collectively warm. If those who lost eggs all left to return to the seas, too few would remain to allow all to survive. He uses the rock to mimic his fellow penguins. The life-support machines allow Amma-ji to mimic life while the poem’s narrator has to adjust to life without her.

“The Bone that Sang” is tender, wryly humoured and humane in the treatment of its subjects. Claire Booker writes lyrical poems with compassion, allowing readers to construct the stories they tell.

Emma Lee, “The Bone that Sang” Claire Booker (Indigo Dreams Publishing) – book review

i folded the sheet of newspaper into a hat
the way my mother did when I was a child
if i made two more folds
it would have become a boat
but i stop at the hat and i place it on my head
once upon a time i did this to please my mother
so she would know that i learned from her
years later i wore the hat to make my children laugh
now my mother is gone and so are the children
in the silence of the house i wear the foolish hat
a hat made of folded newspaper.
no one sees
no one laughs
from outside
i hear the sound of a blue jay.
it is a lonely sound

James Lee Jobe, faith rings like a hammer

I have some people who have helped me out these past few weeks, and one went so far as to put on a gorilla suit to cheer me up. You wouldn’t think a gorilla suit would cheer you up to such a degree, but I’m here to tell you it changed my life. Also many other just sweet nice things that friends have said and done. And all the listening! and checking in. Feeling very blessed in that regard.

Early Sunday morning photowalks have continued to save my life. Out there right about sunrise, and no one around really. I need to write an entire essay about that process and what I’m learning from it. So that’s hopeful. Thinking about what I want to write when I have time. […]

Poetry. I own all the previously published of Bronwen Wallace, but a collected with a few new early unpublished poems was too hard to resist. How is it that in a new format, nice cover, all the poetry seems new and fresh still? Maybe because Bronwen Wallace has so much depth. If you’ve not read her, well, please do.

Shawna Lemay, Breathing During a Pandemic

I will not write you an obituary, it has been
but five days. It has been a week. It has been

the whole

of your life. Where are you? Now, they say
you’re found, and now. A tribute

of dazzling, knitted scarves. Today,
the longest day. Richard,

we love you. Please get up.

rob mclennan, Two poems for RM Vaughan

Poetry Blog Digest 2021, Week 4

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’s been a rough month for many, and a rough year for a world suffering through a pandemic. All is not gloom in the poetry blogs, though, and the winter darkness throws flashes of humor or insight into sharp relief. Like so many, I was cheered this week to hear that the inaugural poet, Amanda Gorman, will be reading at the Superbowl. It feels as if poetry is finally going somewhere, even if most poets are still stuck at home.


Lay down the aphorisms, brick by brick. Play word-
tricks: the awkward juggler has to catch all the

balls tossed in the air, here homonyms fall neatly,
at their pleasure. Isn’t war, unwarranted? Isn’t man,

manipulated? Was there a poet present when light
emerged to rhyme with night?

Rajani Radhakrishnan, Poetricks

Little B still wakes up 2-4 times a night so my sleep sucks.

As a writer, it is so hard for me to go to bed when B does and to not get up until everyone does. If I stay up an extra hour, I can write in the still darkness of the sleeping house! If I get up an hour early, I can write as the sun breaks open the day! I love writing when the family is asleep – no interruptions or competition for my time.

But this year I am committing to sleep first, write second. When B starts sleeping through the night, I can take up my writing in those odd hours again, but for now, I need to not treat my body like crap.

Renee Emerson, Zzzzzs

That night, I fell asleep in front of Netflix’s The Minimalists, but not before hearing and thinking about its primary message: We are so consumed with having physical things that we forfeit the intangible ones that make us truly happy–time, community, creativity, meaningful accomplishment, rest, health (personal and global). There are some things in my life that are hugely challenging–more challenging than they’ve ever been, maybe–but my friend was seeing something true: I am less stressed. I have fewer obligations and fewer life chores and more time than I’ve ever had for long conversations, leisurely meals, neighborhood walks, and serious contemplation. I’ve begun moving through my days at a slower pace, doing what I reasonably can rather than what some unreasonable voice is telling me I should. (No one seems to have noticed or, if they have noticed, to have cared.) That voice has gone mostly silent.

My life–not unlike the Roses’–is much smaller than it once was. There are people and places I deeply miss, but most of what has fallen away I do not. My connections to what and who remains are deeper. I don’t know that I am happier; the departure of Busyness made it easier for Hard Things to come in. But on the whole, I am calmer. I am finding that letting some of those hard things claim space has been easier than fighting to hold the door against them.

Rita Ott Ramstad, Of stories and self-care

It’s been a few weeks since I’ve had Covid dreams. Logically, I should be more concerned, considering the increase in local cases of the new mutation. I don’t know. Maybe my subconscious has played out the scenario so many times it has soothed itself. Or simply resigned.

It’s been below freezing for a couple of weeks. The house is a little cold, which means the bedroom is especially chilly – and that’s good for sleep.

I doubt the dreams are gone for good. But I’ll enjoy these deep-sleep nights for now.

I’ve only rarely gone outside this week. But enough to see the full moon begin to sag just a little. I’ve stood on the deck to watch – and hear – the sparks flying from the contact cables when the freight train passes. It frightens Leonard, who otherwise loves the cold weather. I wonder if the smell of the hares in the area sits in relief above the smell of the clean snow.

Ren Powell, Warm Bodies in Cold Rooms

But over the last two years, as I’ve been getting ready for this book to come out, I have woken up in the middle of the night anxious about my poems–not the craft of them, that I have worked on endlessly, but that some deal with some very personal topics. As I received my final edits this week, I found myself waking up at 3 am with a “what have I done?” feeling. Along with the gratitude and thankfulness of this book, I’ve been hit with the classic–Omg, people are actually going to read this! 

Talking with other women poets, I realize many have also had this fear or concern as their books and poems come out into the world. It comes down to risk, we need to write what scares us.

I took a class with Brenda Hillman and after we shared a poem, she would ask us, “What did you risk?” Some people would say, “I’m writing in a new form” or “I risked sentimentality” but some would say, “I’m writing about something that makes me feel shameful” or “I’m writing about a topic I have been afraid to share.” Every time we risk or write about the things we are afraid to or think we shouldn’t, we open doors for other poets to do the same thing. 

In a world of filters and photoshop, it can be hard to be real and vulnerable. Sometimes we want to put on a lot of concealer and cover what we consider are our flaws. I want to consider that word “flaw”–maybe what we consider our “flaws” are us just being human. Maybe when we are able to say “this happened to me” or “this was very hard to write about and equally hard to publish,” we are finding ways for others to feel less alone in the world. 

Kelli Russell Agodon, Feel the Fear and Write It Anyway

One comes away feeling that Dillard is struggling, hard, with the aftereffects of some kind of deeply traumatic experience, of which the frog being sucked dry by a giant water bug — the book’s most disturbing, recurring motif — is just a pale reflection. Sometimes I felt her angst was arising only because she had her framing wrong and was looking at the situation backward, leading her to anguished conclusions (the chapter on “Fecundity” for instance: “Evolution loves death more than it loves you or me.”). Other times I was grateful and amazed for her ability to describe transcendent/immanent experiences in which the self disappears and life shines forth in all its blinding presence (the chapters on “Presence” and “Stalking” for instance).

Overall, an undeniable classic of nature literature, of course, but also a reading experience I wouldn’t recommend to just anyone. Don’t come here unless you like having your hair set aflame.

Dylan Tweney, The tree with the lights in it

I didn’t get a “hit of sun” this morning, but those few extra minutes of light, even from behind thick clouds, made a difference. Checking the sunrise/sunset times for today, I see that the sun came up at 7:33 am and will go down at 5:17 pm. That’s forty-one more minutes of light since December 21, 2020. Not that I’m counting.

The thing about SAD, at least for me, is that I don’t really notice it until it starts to recede. Then I realize that the darkness did affect my mood, dulling it just enough for me to observe the change when the light starts to return. 

Light affects my hens too. During the Fall, they lay fewer and fewer eggs. Commercial egg producers address this by adding artificial light to their chicken coops, which explains why we can buy eggs year-round. 

I prefer to let my hens have a rest, knowing they’ll start laying again as soon as the light returns. During the dark months, I feed them extra-choice tidbits, add apple cider vinegar to their water, and make sure they have dry bedding. I watch for signs of stress, which include poor appetite, aggression, and pulling each other’s feathers. Every once in a while, I let them out of their pen to explore the larger backyard.

On December 31, 2020, I wrote this haiku:

                           every day
                           another morsel of light
                           in spite of everything

I hope the returning light inspires your writing.

Erica Goss, I’m a SAP: A Seasonally Affected Poet

It’s currently snowing and they are daring to call it a blizzard, but it at least worked out to be happening over the weekend, when I am tucked inside safely until Monday afternoon.  I’ve been cleaning a little, drafting the latest Paper Boat, drinking tea, and making chicken soup. All very relaxing after a long week, that began with the cats trying to kill us by turning on the stove last Sunday morning (just a lot of smoke and a very badly damaged stir-fry pan that happened to be on the burner), and ended with a Friday that felt like I was chasing my tail at work and not getting all that much accomplished besides answering and sending faculty e-mails and lib answer queries in the hours I was there.  It was also just cold and snowed a lot.  I slept really late this morning covered in cats (who cannot kill me now that I have child protectors on the stove knobs) and buried beneath the covers to escape the chill. Lately, with everything else going on, it being winter feels like a personal affront that is not really personal at all. 

Thursday, I spent some time choosing work for reading in a week or so for the Poetry Foundation, and decided to go with a batch of the tabloid poems, mostly because they are humorous and a lot less dark than most of what I’ve been writing lately and since last year.

Kristy Bowen, notes & things | 1/30/2021

Groceries unpacked, my feet are frozen in leaking drifts of winter. Someone posts Pema Chodron droning on about seeking meaning in the presence of death as though this is a novel idea, as though some of our bodies don’t have to live there all the time: what did I do with my hours, they ask. Did I value what I value? What is a day for when we are all soon to die?

To love, and be loved, I snap at the screen, obviously, and scroll on looking for something not obvious, for something to surprise me: spend years in death’s talons and you know there is nothing else but this body and the way it loves and is loved, by every measure of that foolish word.

Sure, talk to me about checking accounts and free gifts so I can notice your laughlines and try to remember what a landscape unfrozen looks like, what love is when it is not scrapped. All else is waste. The chasing of money in freezing drifts. So much of this just obvious noise. People post about astrology. Aliens. Ferfuckssake, I think, and click away, exhausted by the endless reaching for fantasy when the real, the wondrous, is right here, you just have to see it, then nurture it. Maybe I should have just given him my phone number.

Mom still isn’t really waking, or eating, or sleeping. Except sometimes she does: it’s not low oxygen causing it, just covid, just death’s talons, just her decision in her animal body whether to beat it or be beaten. I don’t know whether it’s beating me or I’m beating it, she says, and I tell her I’m so sorry I can’t be there with her. Her floor quarantined, her memory an Escher hallway, her existential end a solitary conflict between animal body and remaining cognition that knows she does not want to live like this. I negotiate with her lack of appetite: what about grapes? Mashed potatoes? A brownie? Her dehydration: not even ginger ale. What about a Coke?

JJS, Wolf Moon

Whisper it quietly, but I think that January might just be over. I’m not 100% convinced, but early indications are that February will commence as of tomorrow.

This is good as it means I can a) stop running every day and b) drink again. I could, of course, have started/stopped (delete as applicable) either of these things at any time, but I chose to persevere with them and I wanted to stick to them. Just to prove that I can make my own choices I am now going to open a beer. I think I’ve earned it for the running part.

In media-type Twitter circles whenever you see a brand or person/both go viral (whatever that means), either for good work or a faux pas, you will often hear someone say I bet that makes it into a deck* by a planner. Essentially, it will be quickly subsumed into being used as an example of what works (usually without any proof it works or any definition of what works actually means).

However, I was reminded of this briefly during the week when I walked past Flo’s room and heard her English teacher talking to the class via Teams about Amanda Gorman’s poem from the Biden/Harris inauguration. I was amazed to hear that Gorman’s poem had made it to the curriculum so quickly. It hasn’t, but it was wonderful to hear the poem being used to hopefully make poetry seem relevant to Flo’s class.

I’m not 100% sure where I stand on the poem myself, but I can totally see how it can help to get poetry out to people and pique interest. I hope that her being the first poet to read at the Superbowl and her subsequent modeling contract bring her all the right attention, and also that if even one person picks up a pen as a result then it’s all good.

Mat Riches, Gardiner At Night

Poetry is in the news these days. Not just the luminous performance of Amanda Gorman at the Biden Inauguration, but tweets that are snapshots of poems and articles that extol the benefits of pandemic poetry processing. Poems like whales in the bay, rise to the surface with a gust of sound and then sinking gracefully only to rise again twenty feet away. 

After Gorman’s recitation, I received more than a handful of emails and private messages on various social media platforms asking, “Was that a good poem?” I saw the bitter sniping by some of the academic establishment. I saw enjoyment, even amazement, by folks that probably thought that poetry was “too hard” or not for them, and here they were loving a poem and its graceful and gracious presentation.

My response to their questions about Gorman’s poem on Facebook: 

Did it touch you? Did it resonate with you?  These are the questions you must answer to understand if it was a good poem FOR YOU. The days of the gatekeepers are over, especially for the older, white, cis-het university crowd.  I find myself going back to something W.S. Merwin wrote: If you find you no longer believe, enlarge the temple. Let’s let the temple of poetry be as large as the whole world. Read poetry. Write it. Talk about it. Love it. Share it. Enlarge the temple.

The past few evenings, I’ve been reading the poetry of Rebecca Elson, who was primarily an astronomer but who wrote breathtakingly beautiful poems in her scant 39 years of life. I’ve been sharing them on social media because I want other people to learn about her work, to be nourished by her poems. Poetry as part of the gift culture, not the capitalist culture. I’ll never make my living writing poetry (something my father was quick to point out to me when I was fifteen), but it will be the way that I make my life. 

Whatever your gift is, I hope that today you will have the pleasure of sharing it.

Erin Coughlin Hollowell, Gift culture

I have to admit I’m not keen on references to gatekeepers in poetry, as the term implies that poets might somehow find favour with people who could grant them access to a supposed citadel or inner sanctum, at which point they’ll have arrived and somehow made it to the top. This mistaken belief inevitably leads to continual and continuous frustration for the poets in question.

Of course, there’s always a social establishment in the poetry world (as in many others), which is successively replaced by new establishments, all with their own prejudices, favourites and friends. However, I personally find that the key as an individual is to focus efforts on living, reading, writing, finding readers who are already out there and generating new ones for the genre rather than wasting precious energy on the pursuit of a non-existent Holy Grail…

Matthew Stewart, Poetry’s inner sanctum

My goal to keep learning about women writers and their lives continues, this week with the second season of Dickinson, the Apple series on Emily Dickinson, reading Red Comet, the latest biography of Sylvia Plath, and also research on Stella Gibbons, a curiously undercelebrated early-twentieth century English novelist and poet, who wrote Cold Comfort Farm, the satiric novel she’s best known for, but also 22 other books, including a couple of books of poetry and many short stories and the book I’m reading now, My American. Stella was, like me, was a journalist before she was a poet and fiction writer. Many of her books are out of print and unavailable in America, but she won a bunch of awards in her day, and held literary salons into the 1970s. When I read about the lives of successful women writers, I’m always curious about their similarities – for instance, women writers like Atwood, Gluck, and Plath (and me) were all the daughters of scientists – Gibbons’ father was a doctor (“a good doctor,” his daughter would say, “but a terrible father” – he was often violent at home but charitable at work). Otto Plath was one of the leading experts on bumblebees in his time – he began his PhD at Harvard at age 40 before he met Plath’s mother, so he was a very old father – but not, by all accounts, much fun to be around. (Coincidentally, Plath’s son, Nicholas, kind of followed in his grandfather’s footsteps – became a leading expert in the Northwest on salmon and orca patterns, before taking his own life in his early forties.)  Sylvia had a kind of extreme ambition and broke 50s modes by being a woman who wanted to work and have children at the same time (gasp), while Stella Gibbons poked fun at the literary community and often refused to follow convention of what women writers were supposed to be like. Being different – standing out – and rebelling against current modes.

Jeannine Hall Gailey, Learning from Women Writers, Under a Wolf Moon, Looking at Book Publishers During Submission Season, and Waiting (and Waiting) for the Vaccine

Mingus! Dolphy!
Elderly people doing yoga!
Park pavilions full of
downward dogs & the upper class.
The Buick owners realigning their chakras
before heading off to brunch.
Everyone has a dog or else no one does.
There’s ozone in the air but the sun is out.
Where’s the promised thunder?
The desert is a dirty liar.
The bass clarinet will have to do.

Jason Crane, POEM: Revenge!

If a clonk on the head with a coconut could dispel my problems I’d line up for a whap. And if the people I love asked, I’d cure their worst troubles with a coconut whap too. This contradicts what I’m beginning to understand about the powerful lessons embedded in mistakes and suffering. But as I get older I get more impatient. The coconut option just seems a hell of a lot easier.

I imagine ridiculous, Gilligan’s Island-worthy scenarios where a mass coconut drop on our country erases racism, sexism, inequality, greed, heck, all our major problems. I imagine us rubbing our heads with peaceful, bemused expressions as we gather up the coconuts and make each other inventive, delicious meals out of all that bounty.

Until I remember, on Gilligan’s Island, whatever problems were solved by a sudden coconut hit were always cancelled out by an inevitable follow-up coconut hit. The professor forgets his brilliant insight, Mary Ann again judges her looks by impossible standards, Gilligan transforms back into a clueless underling. Getting that second hit is pretty much what happens to most of us when epiphanies slide from memory, when awe fades, when the weight of consumer culture drags us back into ruts.  

Laura Grace Weldon, Clonk

We’ve looked for that fabled
plant of many colors, the bird

whose song grows a canopy of grace
over the blighted land. We’ve pushed

our stone-heavy hearts into the wood,
afraid to return without remedy,

without salve. We would lie
down with each other if we knew

we could send strong
new roots into the earth.

Luisa A. Igloria, Anti-Elegy

I got the first dose of the vaccine, last Wednesday. As a massage therapist, I count as a health care worker, so I’m in the first wave. It’s a relief to know that, even as I dawdle and second guess and hang about, my body is busily manufacturing antibodies. In one way, nothing changes: none of my behaviors will change, for a while yet. But it feels totally different. We will win this thing, eventually.

Also: I am very, very tired.

Dale Favier, Things Taking Shape

Last spring the shelves of grocery stores were often bare. No toilet paper, no flour, no Clorox wipes. Fruits and vegetables were hard to find, for a while. We haven’t returned to those levels of privation (yet) this winter, but there are ingredients I can’t find. I think of previous generations cooking during wartime, or in the shtetl, or in the Warsaw Ghetto. (I don’t want to think of subsisting on what food was available in the camps.) This isn’t like that, but that’s the narrative frame that comes to mind. 

When I read about people who refuse to wear masks or maintain social distancing, I think: would you have turned on your lights during the Blitz? It’s not a kind thought, but I struggle to feel kindness toward those whose actions put others at risk. Much about this pandemic year feels like a discipline: staying apart, staying masked, staying alone, cooking with what I can get. The hardest discipline is maintaining a healthy balance between facing reality, and not perseverating about the reality we face.

The hardest discipline is cultivating hope. This week on the Jewish calendar we mark the New Year of the Trees. Symbolically, spiritually, the sap of the coming spring and summer is beginning to rise. The potential for flower and fruit lies coiled in every seed. The days will lengthen. The vaccine will become available to everyone. The branches that are now bare will carry a profusion of fruit. Can I hold the experience of January’s bitter cold alongside the certainty that in its time spring will come? 

Rachel Barenblat, Discipline

Scrolling through Twitter one morning, as one does, I saw that someone posted a video with the caption, “turn up your sound” but I mis-read it as turn up your soul. We see what we need to see sometimes.

Maybe it’s nearly time to reconstitute the world:

My heart is moved by all I cannot save:
so much has been destroyed

I have to cast my lot with those
who age after age, perversely,

with no extraordinary power,
reconstitute the world.

—Adrienne Rich

Maybe it’s time for poems to fill with light again, for poets. Which is to say, all of us.

A poetry of the meaning of words
And a bond with the universe

I think there is no light in the world
but the world

And I think there is light

— George Oppen

In my study, as shown above, there are most likely a lot of conversations taking place. Between Marilyn Monroe, Cary Grant, Grace Kelly, Mrs. Dalloway, a cloud. Who knows what they’re talking about? On the bookshelves as well. As it turns out I file Anne Sexton beside Hermann Hesse.

Sexton: “I am not lazy. / I am on the amphetamine of the soul.”

She also said, “Put your ear down close to your soul and listen hard.”

I’m not one of these people who is going to tell you everything will be alright. For many it simply won’t be. Or hasn’t been.

Shawna Lemay, Turn Up Your Soul

Back to teaching full time this week. Been exciting and inspiring, while at the same time very real. What I mean is that the more I teach, the more I feel myself be more myself. And it’s not a thing I can summon or call forth. The space held in shared open questioning and conversation calls it forth.

Tangentially connected, at one point this week I watched this interview and supplemental writing “exercise” clips between Trevor Noah and Amanda Gorman that are illuminating. In the interview, Gorman speaks of poetry as water, a way to “re-sanctify, re-purify, and reclaim” the world around us. Her inaugural poem, “The Hill We Climb,” and its consequent impact on our American conscience at this moment in time are a solid gesture and step in the direction of this work.

In the second clip, Noah and Gorman engage in a predictive text writing exercise. It’s the kind of thing I see on Twitter sometimes and can’t help but join in on. Engaging directly and purposefully with predictive text can at times feel like having an echo of your latest obsessions as well as the way you articulate yourself in daily life cast back at you. Sometimes the screens in our hands look back, yo.

José Angel Araguz, writing prompt: predictive text

I’ve been trying to draw and paint more regularly. It’s therapy, and it’s a joy, and it’s a way to remember who I am — as well as, I suppose, record who I was. My sketchbooks are just as much a diary as a written one, but that reminds me of my recurrent dream where I’m seated at the piano and required to play, except that what’s on the music stand isn’t a musical score but a painting. Somehow, I start playing what I see, and in the dream, it seems to make sense…

For someone who works in both words and in images, as well as being a musician, that dream feels all too real, and it makes me ask the question of whether a diary of one’s days isn’t just as valid if it is drawn as when it is written. Of course, the two can be merged together, as I guess I sometimes do here on my blog. But because I often find words (and especially, my own words) tedious, I like the idea of “reading” a sketchbook in order to discern something about a person’s life.

When I look through my drawings of the past year, however, I don’t think anyone else could tell we’re in the middle of a pandemic. Taken in the context of all the other sketchbooks from other years, it’s clear that the artist often goes other places, and hasn’t in a long while. But otherwise, except for a couple of pages at the beginning where the chaotic state of my mind was evident, all I can detect is a turn toward more color, the same objects appearing repeatedly, and occasional forays into places I’ve visited, mainly Mexico City, Sicily, and Greece.

As we near the one-year mark of isolation, in another month, in the middle of yet another winter, I can tell you that I am intensely tired of these walls and these two rooms. I’ve been going up to my studio a couple of afternoons a week, and managed to do a painting of Sicily this week.

Beth Adams, Hermit Diary 55. Inside, Outside, and Elsewhere

My poem “After an Older Man from Church Drunk-Texts to Tell Me I Looked Good Topless in His Dream Last Night” has been published in Kahini Quarterly.

I’m especially glad that this deeply personal poem found a home in Kahini Quarterly, which is the most selective and highest paying literary journal I know. I was so shocked when I got this acceptance last week; I responded by going to sleep for 12 hours! I’m grateful to the editors for choosing my work and for placing such value on writing, and I’m overwhelmed by the messages of affirmation and solidarity I’ve received.

Kate Manning, “After an Older Man…” in Kahini Quarterly

In poetry news, I’m waiting to hear about a few submissions (just had a big rejection) and I’m toying with the idea of a pamphlet submission.  I’m not sure I’m ready for another collection yet.  I’m a bit stuck with poetry at the moment, and I’ve been reading prose and scripts because I’m finding poetry difficult to access.  Perhaps a break from poetry will cleanse my palate. I’m re-reading The Great Gatsby after listening to a superb episode of In Our Time in which the book was discussed.  I’ve always loved Fitzgerald’s prose and revisiting feels like calling in to see an old friend.

Josephine Corcoran, Two Chopsticks and a Pencil for the Hyacinths

Canadian poet Christopher Patton’s latest title is Dumuzi (Kentville NS: Gaspereau Press, 2020), a a poetry collection that follows his poetry debut, Ox(Montreal QC: Vehicule Press, 2007), as well as his Medieval translations Curious Masonry (Gaspereau Press, 2011) and Unlikeness Is Us: Fourteen from the Exeter Book (Gaspereau Press, 2018). Having established himself as having an interest in exploring and reworking older source texts, Patton’s Dumuzi appears a blend of those two earlier threads of his publishing history, composing a translation inasmuch as Oh Brother, Where Art Thou? can be seen as a translation of The Odyssey; both rework from the bones of their original sources, and through the creation of a new and original work, uncover previously unseen meaning and depth from such ancient texts. Dumuzi tears apart and reworks old Sumerian myths into an assemblage of lyric fragments and sketches, as he explains as part of his essay “THE GOD DUMUZI AND THE POLICE FORCE INSIDE”: “I see now that my pleasure in pattern for its own sake, there on the signal-noise threshold, was an approach to translation. I was working with the Sumerian myths of Inanna and Dumuzi. Their stories are liturgically redundant, enough so to alter your time-sense, when you’re inside them. And a persistent theme of the poems is the agon, if you like, of form and formlessless.” Dumuzi reworks an ancient tale through the building-blocks of language itself, opening with a short suite of establishing poems to set the foundation of his narrative before the narrative fractures and fractals out in multiple directions. It is as though Patton works translation, mistranslation and misheard translation, utilizing the loose structure of the ancient Sumerian stories and utilizing his play from those ancient bones.

rob mclennan, Christopher Patton, Dumuzi

Philip Hoare is another writer whom I admire. His Risingtidefallingstar (2017) is Sebaldian in many ways: its episodic mixture of what appears to be autobiography – though Hoare doesn’t, fictionalise it like Sebald did – and potted accounts of incidents from the lives of literary and other figures of historical importance. Risingtidefallingstar includes chapters on gay and bisexual writers – Wilde and Stephen Tennant (about both of whom he has previously written at length), Wilfred Owen (about whose life I hitherto knew little bar the Craiglockhart interlude and the agonising futility of his death so close to the Armistice) and Virginia Woolf. But Hoare also recounts biographical details from the lives of others intimately connected with water: Melville, Nelson, Thoreau, Elizabeth Barrett Browning, Shelley and Byron.

I know its details well, but the story of Shelley’s end resounds with me whenever I read it. In June 2017, Lyn and I holidayed in Viareggio, where Edward Trelawney, Byron and co. ceremonially burnt Shelley’s corpse on the beach, fifteen days after the fatal boat trip and five after the body had washed up. A year later, we took the train north from Pisa to La Spezia, and then a taxi, whose driver initially dropped us at the wrong place in Lerici, before dropping us at Casa Magni itself, where Shelley and his family and friends were staying when he died. Hoare’s account, like others I’ve read (including that of Richard Holmes), states that the house is in Lerici, but it’s actually couple of miles along the coast, in San Terenzo, with a lovely beach and bay of its own. When we arrived, we found the house, now a hotel, locked up and there was no answer when we rang the bell. After a while, we were admitted and shown to what was Shelley’s bedroom. For several days we were the only guests, and the staff were absent to the point of invisibility, as if it were our own house. When two other (English) guests appeared at breakfast, it felt like a gross intrusion.

As one would expect from someone who grew up and still lives in the great port city of Southampton, whence the Titanic began its voyage, the book is dominated by the coastline – e.g. the pretext for Barrett Browning’s inclusion is her sojourn in Torquay – and oceans and the peril they bring. In that, it reminded me of Anne-Marie Fyfe’s equally restless mixture of memoir, biography and travelogue, No Far Shore, with which it shares some concerns. Followers of Hoare on Twitter will be well aware of his daily swim in the sea and how it’s an essential part of his life. As the cetacean-obsessed writer of Leviathan, he is, or would love to be, half-man–half-dolphin, meeting jellyfish and a singing whale. At New Networks for Nature a few years ago, Hoare enthralled me and the rest of the audience with his tales of close encounters with sperm whales off the coasts of the Azores. As I read his book, I heard and felt his enthusiasm and learning.

Matthew Paul, January Reading

winter swimming
my fingers are sausages
my toes are white

Jim Young [no title]

holding my breath
the dragonfly’s
stilled wings

I’ve not been particularly poetic, or productive, this week. Tired from work, tired from the cold weather, maybe tired of the gloom that surrounds us mid-pandemic. But January’s like that sometimes. I keep telling myself spring is just around the corner. The days are lengthening a little, and I hear the birds singing when I go out with the dog. I’ve done the RSPB Big Garden Birdwatch this weekend – 2 male blackbirds, a pair of collared doves and a scattering of house sparrows. I was hoping for more variety as we often have goldfinches and blue tits, and now and again the trauma of a sparrow hawk. Anyway, I had to be content with what I saw.

The colouring/ collage above is from a mindfulness colouring book someone bought me for Christmas. I had more time over the Christmas holiday, and rather than just colour, I also used collage techniques to fill some of the pages (see below). Anyway, the dragonfly page lent itself to a haiku.

Julie Mellor, holding my breath

As poets, I don’t believe we ever ‘start from nothing’. Or rather – I think that there’s a huge potential in every nothing we encounter. Our lives and lived experiences – although rich and vital components of our work – are also only one approach to writing.

My little bureau under the stairs is dedicated to what Don Paterson calls the ‘wild red eye’ stage of writing: where you play, experiment, set out to see how you might surprise yourself. (I edit upstairs at my desk, where I welcome the ‘cold blue eye’ of my Inner Editor).

Some mornings, the Muse rings the doorbell and leaves a parcel – or pops in for a cup of tea (they’re non-corporeal, so we don’t need to socially distance). Other mornings, there are no deliveries: I am there, with a notebook and a desk. But that desk is covered in decks of cards – including Fashion and Art Oracles, some home-printed ‘Oblique Strategies’, some new ‘votive cards’ which encourage embodied writing, the ‘Don’t/Do This Game’ of ‘thought experiments for creative people’.

There are fridge poetry words, and shelves of books of prompts. I’ve also got the Parrot Random Word generator app and several sets of story dice – real and digital (my favourite are the actions Story Cubes, which are great for getting writers to consider their verbs…). Sometimes, I’ll explore news articles – especially around environment – and then muddle up some phrases with found words to invite my response. You get the idea.

An aside: my late Granny Joy was a toy collector and serious hoarder (she actually had a box labelled ‘Bits of string too short to be useful’) and my late Granddad Eric, a toy designer and maker: I’m in a lineage of tinkerers and gatherers. All this creative ‘stuff’ is my way of embracing that inheritance. You might be an aesthetic anti-clutter minimalist – but keeping in mind that we can always ‘invoke the Muse’ is, I think, helpful for everyone. Which toys, games, ways of reinstating your playfulness, might work for you?

Unlocking Creativity with Caleb Parkin (at Abegail Morley’s blog The Poetry Shed)

I type “helpful” notes on my phone in the middle of the night when “inspiration” hits. Two recent entries include “I say potato, you say roboto” and “donut shop awnings, orange & pink.” So clearly, writing in 2021 is going swimmingly.

Here’s my prayer to the weather gods: May this coming week-long deep freeze be the only one of the season.

I miss date nights shoulder-to-shoulder at the bar leaning even closer for deep conversation. It’s one of my favorite forms of intimacy. Pillow talk in public places.

Carolee Bennett, pillow talk in public places

there are people who say
that only humans have souls
others say that everything has a soul
or is a part of a great over-soul
and yet there are others
who don’t believe in souls at all
last night a hard storm came
and knocked out the electricity for hours
i didn’t light a candle
i sat in the total darkness
listening to the rain and wind
wrapped in an old blanket

James Lee Jobe, a part of a great over-soul

I gave myself some time this week to write and revise, and it reminded me how happy that makes me, to concentrate on one kind of work at a time. Instead of hurting like a warehouse (I love that simile), my brain shifts into a mode of focused exploration; I can fall asleep all right, and I wake up almost cheerful. It’s amazing to me how even sabbatical, a time supposedly dedicated to focused reading and writing, gets fractured into a million tasks. Or, I mean, I fracture it; there is a world of need out there, but there’s also my guilt and, often, restless energy. The problem with the writing-dream being my salve is that it eventually begets more busy-work: submissions, proofs, getting word out on social media even when I know social media makes me unhappy (oh, FB)… Again I think of Bowie, whose 1970s diet allegedly oscillated between cocaine and milk.

My endless little post-writing tasks bore sweet fruit this week. Last winter, I thought about who shine a light on The State She’s In: my small press sends out copies but doesn’t have a publicist, so I was telling myself I needed to make my own luck. I sent out a ton of applications for festivals, reading series, conferences, etc., but I also tried something I hadn’t before: I studied the reviews in The Rumpus, found someone who writes really great ones and seems to be interested in books like mine, and wrote to her out of the blue to ask if she’d like to see my digital ARCs or receive a copy of the published book. Yes, she said, although no promises; even if she got to it, it would be a while. And here it is, an extraordinarily long, thoughtful, generous dream of a review by Julie Marie Wade in The Rumpus.

Lesley Wheeler, My brain hurt like a warehouse

Cloud faces floating, a slow-mo swirling through earth’s sky rivers.

Those faces fade, reappear as others’ faces, then reappear as your own face looking down at you.

You reach up to touch your cloud-self, but heartworn concertos sing the sky asunder.

You are here, you are gone, then you’re here again as the ghostly hems of sky’s river clothes mend,

and you are dressed in the most beautiful blue.

Rich Ferguson, Cloud faces floating

Crisp air, fragile sun,
soft frozen white on the roofs.
January leaves

questions unanswered.
How much longer till, when, where,
can we meet again?

Magda Kapa, January 2021

Poetry Blog Digest 2021, Week 2

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: moments of insight, lessons in forbearance, the good news found in new books, and much more.


Vials, frozen. Chest-freezers, full.
She’s not using her wheelchair today,
she’s walking. Slow, but walking. Good,
I answer, that will help. Too late, we give
consent. Ashambles, the whole ward now.

JJS, Protection

Mary is delighted to live in the moment of what she currently sees, despite knowing that the star is dying. A similar sentiment to the earlier poem “A Fire” where the narrator wants to stay in the process of losing a friend, not yet ready to acknowledge the loss. Mary’s voice seems childlike, but Mary is the also name of Jesus’ mother. God, naturally, is paternal. The reader is left not sure who Mary is or who she represents.

“You Do Not Have To Be Good” leaves an opaqueness at the heart of each poem, inviting readers to speculate and try to figure out the narrator’s relationship with others in the poems. That said, the poems do explore trauma effectively, particularly losses that come from being unable to fully reveal a self to a listener or someone who might be of help. They come from a place of affirmation and healing.

Emma Lee, “You Do Not Have to Be Good” Madeleine Barnes (Trio House Press) – book review

What a lucky chance, then, that Dr Zhivago is currently on iPlayer, and that after forty years of adventures I have 1) A TV, 2) A TV licence, 3) A range of techniques learnt in psychotherapy enabling me to side-step any feelings of guilt incurred by watching a film whilst it’s still light outside. We all need doctors more than ever these days, so maybe it was this that prompted me, finally, to satisfy my curiosity, watch the film. 

As it turns out, Dr Zhivago is more like early 2021 Shropshire than you’d think, filled as it is with snow, difficult decisions, furs, untimely deaths, beautiful vistas, confusion, heroes, quiet resolve, and drumbeats. And with trains (although ours are largely empty). We also lack a famous, but strangely irritating as the hours ticked by, theme tune.

Liz Lefroy, I Relax With Dr Zhivago

staying up most of the night working on poems 
oh lonely bones – can’t you rest 
why should i 
even now a strong wind carries 
some pine seeds to the earth 
even now the boats slide 
down the long sacramento river to the bay 
a new day begins and i am alive

James Lee Jobe, on the nose of the puppy

At about the same time, the house began hollowing out, it shed plaster – chunks of them. They were getting old – both her father and her house. Cracks bisected diagonally a wall in the storeroom; timber room, part of the study upstairs, wooden steps leading to the terrace were advised not to be used, and they became nesting places for scorpions. Saferoom remained safe with its iron vault which was for the most part empty but for my grandfather’s silver plate. The vault was weighed in rupees and sold as scrap when the house fell after my grandfather died. The money that came from selling the land and the strong wooden doors were shared between my mother and her siblings. My uncle’s share was put away in a bank and used for his medicines and stay as a life-long resident in a home. My mother used her share to re-lay the floor in our house, the cement floor was replaced with mosaic tiles. Houses are not meant to speak and care must be taken to keep them mute.

Uma Gowrishankar, laid to rest

For years my partner and I cared for elderly parents, one way and another, and I watched as their worlds shrank, physically, as did their curiosity. Slowly and inevitably they stopped taking any notice, stopped listening, stopped reading, being interested, talking. They were just busy dying. 

I’ve decided I want none of it. I can learn from Solzhenitsyn and his take on Epicureanism, especially in One day in the life of Ivan Denisovitch. The idea that happiness lies, at least in part, in taking inventory of the day and identifying how it could have been much worse if X or Y had not happened or didn’t exist. And then focussing on X or Y. Things that made life better. An extra bowl of kasha. A bit of hacksaw blade. Building a wall. 

What did I do in 2020? I have a house, I have a garden, a field beyond the garden, a view beyond the field. I have a garage full of bits of timber and power tools. In February three days of incessant horizontal rain worked through the gable end and round the kitchen window and poured in. So when the rain stopped, I got out the gear and repointed all the damage, and replastered and painted inside. I enjoyed it. Most of it. 

The weather was nice this summer. I repainted a lot of the outside woodwork; when it rained I decorated indoors or resprayed picture frames.

On a whim, via the cobweb and Facebook I invited folk to send me poems inspired by Eiléan Ní Chuilleanáin’s wonderful, artful poem Swineherd. Scores of people sent me poems, and then Bob Horne of Calder Valley Poetry suggested that we make a book of them, which involved asking Kim Moore to select the 26 best ones in an alphabet of occupations we’d leave When all this is over.  

It’s only just struck me that probably every single submission involved a future of being left alone. You’d have thought that lockdown might have inspired dreams of crowds, of festivals of concerts. What most folk seemed to dream of was travelling alone, and almost invariably, in wild places or on the sea. Yes. My dreams too, I realise. But there you are. A book out.

I missed physical poetry courses, but I’ve been, virtually, to Garsdale Head with Kim Moore, to Sneaton Castle with the Poetry Business; I’ve joined in Joe Bell’s project To heal the mutilated world …and that was terrific…as well as Winston Plowes’ and Gaia Holmes’ Muse-li courses. And every Monday night, via Zoom, there was the Albert Poets’ Workshop. What else…oh yes. Tom Weir and I will be zoom-workshopping together, hopefully right through 2021. A lot of extra bowls of Kasha.

John Foggin, Busy being born

Let people be divided over and over and over again
till they fit in tiny spreadsheet cells.
Let me be gathered as a data point by a factory of
algorithms that build a bubble around me.
Wasn’t it the scriptures that said that the world is just
perception. (And that was before Facebook.)
What do you want to resist most, today?
What outrage fills your coffee cup this morning?

Rajani Radhakrishnan, RIP

It’s cold and dark, friends. Not my favorite time of year. (I am not happy with the weather unless it’s July.) When we say in Upstate NY that it’s cold for six months a year, we aren’t exaggerating; it may even be seven. And I wonder each year how I’ll get through it. I’ve been trying (recently) to get outside for a walk every day, but I’m not really happy about it. I’ve been listening to books on Audible as a way to tempt myself and get out the door. So far, I’ve listened in full to Convenience Store Woman, a novel by Sayaka Murata, and started The Stranger in the Woods: The Extraordinary Story of the Last True Hermit, a true story written by Michael Finkel.

What intrigues me most in each is that the central figures make a conscious choice about who they’re going to be — and then they play it out turn after turn. They double down, repeatedly, and in doing so, forego much of what the rest of us call “normal” parts of life. And though the natural assumption may be that they’re renegades of some kind, both rely heavily on following strict — almost clichéd — rules of specific “character” types: store clerk (Keiko Furukura) and hermit (Christopher Knight).

Encountering these stories back-to-back has me thinking about who makes the rules and why we follow them and how expectations (our own and those from others) have so much power. If you can believe this story in The Onion (lol) — “‘I Can’t Do This Anymore,’ Think 320 Million Americans Quietly Going About Their Day” — we even abide by the self-imposed rules of inertia and accept, not just the need to work, but most painfully, its drudgery. The truth hurts.

It makes me wish to be the heroic figure in a story like Furukura’s or Knight’s. Admittedly, they’re tragic figures, as well, but allow me to indulge in oversimplifying a bit; let me romanticize breaking free of Undesirable Things without having to trade them for Different Things That Are Also Undesirable. Who would I become if I could take on any type/character? What kind of world would that create for myself?

Carolee Bennett, on showing up and setting poetry goals

Late on a pale afternoon in January,
sitting, unmoving, the puff-chested blackbird.
She has been there for a while now,
just under the reflection of my reading lamp;
just the odd stretch of a wing and the thought
of preening the day down.
You cannot see it from there; don’t move!
It will scare her. We are sharing this
moment? Call it what you will.
Soon, too soon, she will be gone. Around, yes,
but busy nesting. Just like the pecking dunnock,
the darty robin, the acrobat tits.
But now, twelve lines written, and she is still there.
The pallor of the day ivory poached; a north breeze
stirring; tea and scones have jammed the day.
She is still there, a sparrow riding shotgun.
Sonny Rollins on the radio.
Whoops!
She’s gone now.
She’s gone.

Jim Young, The sitting

I’ve been trying to keep my mind off troubling FBI reports of white nationalist terrorist threats leading up the the inauguration, and focusing on the cheerful fact that the youngest poet ever chosen will be reading at the inauguration, and soon Trump won’t be able to hurt us anymore. One hopes. I’ve been noticing strangely unseasonable things, like the first bloom on my camellia, long before it should be blooming. We’ve been having wet, cold winter, so it’s very odd but I will take an out-of-season flower where I can.

Jeannine Hall Gailey, First Blooms, New Poems in Gargoyle, Hoping for Better Days Ahead

Somewhere
an old silence
waits for me

to enter
the emptiness.
It is like

swimming naked–
the knowledge
you are

who you are
when you walk in-
to cold water.

It is not like
light piercing
a dark room.

Tom Montag, SOMEWHERE

The morning her veterinarian woke in her bed he fed her spaghetti smashed the noodles into her mouth lit a candy cigarette after sauce on her white coverlet the vinegar-bleached sheets. There wasn’t a fight. She simply wished him empty of music. He was not allowed to tell her how his feet burned how bright steam rose from the dog’s bowl. He held her head under water and sang Mahler Saint John has let his little lamb go to the butcher Herod. They watched TV at night drowning. It felt like progress. Life was good under the ginger bell the animal hospital’s glowing blue cross.

Rebecca Loudon, And angels bake the bread

There it is, sketched in red-
ochre, head lifted and watching.
Broad strokes of its rounded back
and short legs, found on a karst
wall in Leang Tedongnge. Now
it’s the oldest-known animal
cave painting. But why,
as I read about it, does my brain
think party pig? Perhaps it reminds
me of Andy Warhol’s Fiesta Pig:
ballet-slipper-pink, nosing around
in the excess of some post-bacchanalian
frenzy. Migration in packs, in the wild,
through curtains of berries and matted
roots. They’re mostly feral, but sometimes
give in.

Luisa A. Igloria, Brief History of the Sulawesi Warty Pig

I’ve always been a little fascinated by conspiracy theories, by the stories that take shape to impose order on the world and make it feel like net of carefully placed happenings and facts and not a chaotic swirling mass of randomness and chance  Alien autopsies, for example. Explanations for strange phenomena.  Untimely deaths and crazy historical coincidences.  They are fun to look at, less because I am seeking a pattern of order or cause/effect, but more that they are a way of understanding things, or at least the obsessions behind them.  A couple semesters ago, our Strange Fevers  Mass Delusions, Illusions, and Obsessions programming delved into this a little bit. 

I often think about how they go wrong.  Obviously the events of this past Weds. are a perfect example.  In my own work, the necessary violence series and the girls who tried to stab their friend based on Slenderman lore.  I think about these girls a lot when I think about politics. The mental illness in one girl who influenced another, and it’s not hard to make the jump to political conspiracies and the inevitable bad outcomes.  These are everywhere and inscribed in our history long before the current ones–McCarthyism, the Satanic Panic of the 80’s. All usually fueled by someone’s agenda–the goverments, men who wanted working women to stay home and keep an eye on their kids. .  A lot of the mythmaking of these was believable..communist infiltrations of Hollywood and the media, missing housepets,  the rise of latch key kids getting up to god knows what in the off hours. Most not things one had to stretch their imagination too far into the absurd to get to, which made things all the more believable.

At some point, contemporary conspiracies got crazier.  Even alien abduction lore is easier to believe than a lot of what is floating out there.

Kristy Bowen, absurdities and atrocities

One does not realize, until one does it, how heavy the burden of all those opinions is, how anxiously they must be defended, how vulnerable they make you to every passing stranger. I practice not having opinions about other drivers, when I’m on the freeway. What do I know of what they are rushing toward, and what they are fending off? “No one made me a traffic cop,” I murmur. Thank God. I am so grateful that no one made me a traffic cop. And I am correspondingly grateful for the people who undertake that burden, leaving me to float, irresponsible and free, in the flow of traffic. If someone’s driving strikes me as aggressive or erratic, I simply drop back in the current till I’m well away from them. 

Dale Favier, Opinions: Throwing Rocks: Being a Traffic Cop

In November I took a Hugo House class on “writing angry poems,” taught by the poet Sharon Bryan. One of my discoveries was that it is freaking hard for me to express anger. Feel it, yes; turn it loose in poem: no. So I struggled. “This is like a poem about repressing anger,” was one of the comments I received. Another: “This poem doesn’t seem to be about anger, but maybe mild annoyance.”

One of Bryan’s recommendations was to read Deaf Republic: Poems, by Ilya Kamnisky. I dutifully ordered a copy and have been avoiding it ever since. This week, I read it. It could not have been more timely for me. In the 1960s people used to say, “the personal is political.” Over the last ten days, we have seen how true that still is.

Deaf Republic is profoundly personal. It struck me as being less a collection of poems than one poem, or a play-in-verse perhaps. Tracy K. Smith writes that what she finds here is “conscience, terror, silence, and rage made to coexist alongside moments of tenderness, piercing beauty, and emphatic lyricism.” Kaminsky’s story opens when a young, deaf boy is shot down by soldiers in an occupied town, and then it winds through the perspectives of other characters in the town, which is struck deaf by the violence, introducing a couple expecting a child, then Momma Galya, the puppeteer who rescues their infant. But the poems transcend their place of “otherness.” As Smith, who has served as the United States Poet Laureate, continues in her cover blurb: “It hurts to read these poems. It hurts to read them and find the world I belong to stricken by a contagion of silence.”

Bethany Reid, Writing the Political Poem

Uncertainty has a daughter whose body is smoke and mirrors. Her eyes, numb and numberless. Her mouth, covered by a mask.

In her more sober moments, she tells me, the heart is no place for a graveyard. Barbed wire, no place for a bed.

She smells like wilted flowers and the whiskey of cold contrition.

I whisper in her ear, let us hope this winter doesn’t last forever.

Rich Ferguson, The Graveyard Bed Where the Heart Says I Love You

Apathy is a kind of cruelness, and denial is a tricky thing. More and more, I look back at the pre-2016 me and feel shame and disgust at all I didn’t see and know that I now do. The information about who and what we are was there all along. I saw much of it a long time ago and turned away from it and then forgot it. I told myself that things were not really as bad as some said. I cautioned myself against over-reacting. I know that denial is a protective mechanism we employ without awareness to protect ourselves from truth we aren’t yet equipped to manage, and in my good moments I can feel empathy for my pre-2016 self. I suppose she was doing the best she could with what she had. In my bad moments, I want to shake her and yell at her to wake the fuck up. I want to hide her in a closet and pretend she was never me.

Rita Ott Ramstad, On vertigo, normalcy, and light: revisiting Sarah Kendzior

when we turn against the sea
how many deserts appear

when the poem sheds its final skin
why does one still have to wait for dawn

for how many lives after i am gone
will my heart come searching for me

Grant Hackett [no title]

Back in April 2020, in the first lockdown, my collection, The Unmapped Woman was launched by Nine Arches Press on Zoom with great support from the fab poets Katie Griffith and Robert Peake. I didn’t know at the time that Jane Commane was in conversation with Helen Dewberry about a variety of film poems including one for a poem of mine. Helen is an Associate member of the Royal Photographic Society and has worked with a variety of poets on film poems which have screened at festivals. You can find a number of them at Elephant’s Footprint Film Verse. I have my favourites, but dip in and see what appeals to you.

It was later in the year that Helen and I had a chat on Zoom to discuss which poem had all those visual qualities just crying out to be shown in another medium. It was interesting that both Helen and Jane had selected Neap Tide as one of their favourites and it is one, which when Helen ask me questions about, I realised, as I unpicked the poem line by line, I had a very clear image of place and people without having made that conscious decision when writing it. I am hoping to catch up with Helen later for an interview, so will keep details of the process for that post, but working with her on this collaboration renewed my interest in my work during what had felt like a very fallow furlough.

Abegail Morely, Creativity in Lockdown – A Film Poem by Helen Dewberry

They’re dwindling,
those who might turn up to mourn,
and some of those are just in tow.
Some went before –
the ones you mourned the most
the ones that would have
mourned you most –
to be expected.

Some you lose through death,
some fade away,
some are blocked,
some block you,
some you knew well,
some just slightly,
the rest you didn’t know at all –
to be expected.

Sue Ibrahim, Expectations

I must confess, though, this interests me intellectually, but it’s the other book I happened to grab in quick Covid-breathing-down-my-neck visit to the library that grabs my poetry heart. It too takes its cues from something concrete, in this case a video clip and some photographs. Ross Gay seems to be attaining incadescence in front of my very eyes with each new book. Be Holding is magnificent, as it achingly slowly tells of the fleet seconds details of an improbable dunk, a “baseline scoop,” by Dr. J during a 1980 NBA finals game, interspersed with curling and twining tendrils of sidebars and meditations on holding, on flying and falling, on love. This is poetry that truly engages me as a reader, a writer, and as a human bean.

This is news of the finest kind. Oh, boy.

Marilyn McCabe, I heard the news today; or, On Poetry Making Use of Non-poetic Texts

The latest from American poet and translator Joshua Beckman is Animal Days (Seattle WA/New York NY: Wave Books, 2021). As the back cover offers: “Written from inside of illness and gathered over several years, these fragments or moments invite readers to contemplate how the compromised body transforms our conceptions of selfhood and our sense of the world.” Animal Days is composed via six extended poem sequences, each threading together an accumulation of short fragments: “IT SEEMED TOO MUCH,” “LITTLE PRICKLY COMING OF STORM,” “THE GLACIAL TRIP,” “DRAWING X’S ON THE TABLE,” “AUGUST” and “ANIMAL DAYS.” Beckman writes from the inside of an awareness of the frailty of the human body, even from the first page of the opening poem: “the pursing / and bursting / of cells / blood / in the skin / in the face / blood exploding / inside us / like that [.]” There is such a slowness etched into the lines and fragments of these accumulations, extended stretches of thought that sit perfectly against each other. There is such a slowness etched into every word—a slowness that coheres and allows for simultaneous pause and quick thought—and one that is remarkably physical. Honestly, for anyone who is attracted to slow, thoughtful work with remarkable speed—one could think, also, of Cameron Anstee, Michael e. Casteels, Jack Davis and the late Nelson Ball—Beckman’s dual essay collections The Lives of the Poems and Three Talks (Wave Books, 2018) are perhaps the finest collections of critical prose I’ve read (so much so that I’ve been completely unable to articulate how good they are).

There are moments when his sketched-out fragments give an epistolary sense, as though he is writing from his kitchen table, perhaps, out to someone (whether generally or specifically) in the wider world: “reading it / even as I / got reading / it even as / I write you / this letter” (“DRAWING X’S ON THE TABLE”). Throughout the six threads of Animal Days, Beckman’s lines adhere to a particular minimalism, but one that furthers the line of thought as far as might be possible, stretching out across the lyric. “a sheet / of it / held,” he writes, as part of “LITTLE PRICKLY COMING OF STORM,” “constellation-like / in the back yard / responding / to wind // clothespins for / fingers // houses / blown down the road / through the town // like a toy [.]”

rob mclennan, Joshua Beckman, Animal Days

There was a real nip in the air on Wednesday afternoon which created frost ferns on the Velux windows in our kitchen. I stood underneath and took some photos, and although it wasn’t dark outside and there was plenty of light, the flash kept going off, so I assumed all I’d get was a blur. In fact, I got these finely beaded images, frost ferns pearled with light from the flash, almost like underwater photos of coral. It was the sub-aqua atmosphere that gave me the word ‘surfacing’, and originally I had ‘frost ferns’ in the poem, but that seemed too obvious, so I was left with what appears above.

Julie Mellor, night frost

winter night
— from out of our wreath
a wren

Bill Waters, Winter night

Yesterday’s later part of the onground intensive revolved around silence, and the leader of the last session offered us an extensive guided meditation.  I tried so hard to follow the directions.  I sat in my desk chair and closed my eyes.  I visualized energy moving through my body.  After what felt like an endless journey from head to toe, we got to a space where God was waiting for us.  We visualized the space.  We visualized God.  Then the leader said, “God has a special word or phrase for you. Let’s sit in silence and wait for that word or phrase to emerge.”

It didn’t take long for my word to emerge:  patient.  Not patience, but patient.  I thought about the difference between the two.  I sat resisting the urge to open my eyes and flip through other online sites.  I was not concentrating on God or my word.

I opened my eyes and reached for my sketchbook.  I decided to write the word across the page, and then I wrote it on other parts of the page in different ways (all capital letters, block print, cursive).  I turned the page around.  I wrote patience instead of patient, but I turned that word back to patient.  I revolved my sketchbook again.

Then I wrote Pain. I only realized what I wrote when I paused to think, how do I spell patient again? Then I looked down and realized that I wasn’t just a letter or two off. I looked at the word.

Kristin Berkey-Abbott, Unsettling Mystical Experiences and a Special Word from God

This year seems to be taking its toll on me more than all of last year did. I don’t know why, although I suspect I could hazard a few guesses. All of them would be different and all of them would likely be correct (I suspect insider trading).

I am certainly losing track of the days as I could have sworn today was the TS Eliot prizegiving. It isn’t – I think it’s next week. I guess as long as the poets, the judges, and Ian McMillan all know, then the rest is irrelevant. That said, I do enjoy following along on Twitter, although one year I’d like to actually go. Maybe next year.

I think I’d got my wires all crossed about dates as I finished J.O. Morgan’s ‘A Martian’s Regress‘ this week. It’s the only one of the books on the list for this year that I’ve read. I will eventually remedy this, and while I loved it I can’t say whether I want it to win or not because I have nothing to balance it against. I’ve read poems by most of the authors on the list and enjoyed them, so come join me on the fence; it’s comfy.

Mat Riches, Gravy Reservoir

Many thanks to They Call Us for publishing my poem “All Words for a Woman” in their most recent issue. I love the aesthetic and artwork in this feminist zine! Make sure to check out the entire zine while you listen to the corresponding curated playlist.

They Call Us is a new  online, feminist literary magazine publishing a themed issue every three months. Past themes include They Call Us Flawed and They Call Us Theirs. They seek “to showcase the talents of writers, designers, and artists. However, our goal first and foremost is to tell the stories of people who feel like they often don’t have a voice.”

You can read more about what they are up to in my interview with them from last year here.

Trish Hopkinson, My poem “All Words for a Woman” published by They Call Us “Bossy” zine + list of Feminist Lit Mags

First things first, I do understand and respect that prompts and exercises help certain poets unblock ideas at specific difficult points in their writing lives.

However, as a poet, I personally find that my own poetry is best served when I get on with my daily business, making sure I read, read, read in the gaps between the stuff I’m doing, thus allowing poems to ripen in my mind before putting pen to paper. As mentioned previously on Rogue Strands, sometimes it’s better to wait rather than forcing work to come out.

As a reader, meanwhile, I get the impression that certain collections seem to use prompts and exercises as a systematic method of writing. I’m afraid I have to admit these are books I don’t tend to enjoy because I find it extremely hard to connect with the poems in question…

Matthew Stewart, Prompts and exercises

Richard Nicholson (aka the singer-songwriter Billy Penn’s Brother) burst into my life towards the end of the 80’s when he invited the band I was in to play at Harry, a tiny festival of faith, arts and politics in Harrogate (get it?), North Yorkshire. Way ahead of its time, and therefore tiny and fleeting, Harry attracted a loving mixture of what Theodore Roethke called the ‘innocent, hapless, [and] forsaken’: misfits, visionaries, burnt-out charismatics, and house church and acid house refugees. Such was the size of the crowd, you felt by the time you went home that you had encountered everyone present: road crew, singers, and punters alike. It was heady and intoxicating and beautiful. In the sense that I met people there who seemed to think, question, doubt, pray and haphazardly pretend they were artists while doing other things (and that this was fine, normal, even), I do think it changed my life.

Around the same time, Richard became a mainstay of a writers’ and artists’ group I used to host in my kitchen. Without the resources of the internet we now take for granted, it was a word of mouth affair, friends of friends of dubious friends pitching up with their entry fee of Bulgarian red, to read, pontificate or argue about their latest masterwork. Naturally Richard came and held forth with the best of them, making lugubrious wisecracks in his deep Geordie voice while sipping Oolong tea through his pipe smoke. One week he would bring a painting, the next a new song, another a manifesto in reply to Marshall McLuhan.

Then, one week, he brought a little sequence of poems which stunned me with their brevity, mordant humour and precision. I think there were no more than half a dozen of them, but each seemed to carry the freight of a lifetime’s reading, study, reflection and rage. I told him at the time I thought they were as good as Ivor Cutler, one of our shared heroes. I still think this today. I saw him perform the poems once, in the basement of Holy Joe’s, the Harry crew’s London base, below Brixton’s Acre Lane. He declaimed them without introduction sitting upright in bed wearing striped pyjamas and a Scrooge nightcap. The effect was charming and unsettling in equal measure.

Anthony Wilson, Intense

The lake has frozen.
Ice fishermen scatter,
tiny dark figures

making their way
across its flat
white expanse.

My heart pounds
gunfire
in my chest.

If the ice breaks
there is no one
to call.

Rachel Barenblat, Watching armed insurrection from afar

I haven’t been sleeping well. Though I suspect few of us are these days. This weekend several of the local lakes were declared to be “safe”, then on Sunday two men fell through the ice of two different lakes. On the other side of the country, an environmental activist fell through and died.

I know that “liminal” has become one of those overused words, but the truth is these liminal spaces are dangerous. The in-betweens and the uncertainties and this continual sense of being on the edge.

Flight, freeze, fight, faint or f#%&. But before that, the suspense, the suspension of our own unconscious flow. Heightened awareness is exhausting.

Even with the yaktrax this morning, the asphalt is dangerous. There’s a light dusting of snow over the ice. The small plow pushes snow into the street and spreads sand on the sidewalk. I want to run this morning, but don’t dare. I’m too unstable, too tired. I won’t be able to catch myself and find my balance if I slip.

A time-out would be nice. Is nice, when I allow myself this. Last week my youngest son visited and told me there is another possibility to the “Flight, freeze…” scenario: submit. Startled and frighten dogs sometimes do it. It’s not the same as playing dead. There’s no deception involved. It’s a matter of softening.

We are so sure that surrender is a bad thing. I’ve been thinking that there is a reason so many religions demand it. We need a time-out from our own will. A reality-check in the midst of all the prophets. Surrender to, acknowledge this moment and its omnipotence. And the next.

Ren Powell, Playground with Dreamcatcher

Finally, I identified with the problems of writing itself: “You write a thing down because you’re hoping to get a hold on it. You write about experiences partly to understand what they mean…. But there’s always the danger of the opposite happening. Losing the memory of the experience to the memory of writing about it.” [Sigrid] Nunez makes that connection to people who realize some of their memories arise not so much from events themselves but from photographs of these events.

I know I sometimes lose track of what really happened if I make a poem of my own experience, or base a story on observed life and behaviors. I often write to better understand something or someone, to expand my compassion for someone who hurt me or behaved badly or inexplicably. What would make someone do that? I ask, and then try to answer that question in a story that loves the character who did it, in part by exploring the character’s motivation, as I would as an actor…  By the time the story is finished, my compassion is expanded, yes, but my imagination has already taken over, and my fiction-writing self has mixed and matched details as needed, and who knows what the “facts” were on the way to the new truth? That’s why it’s fiction.

Kathleen Kirk, Still the Right Book at the Right Time

This year, I intend to make more collages and poem collages to add to those I made in 2020, and previously, which I’ve shown you in several posts, such as Collage Poems (from 2017); Once Upon a Lockdown (sequence of nine prose poems/collages from 2020); Collages of Exasperation (also from 2020).  In my collage work, I’m inspired by poet, writer, artist, and teacher Sophie Herxheimer.

I’m mentioning my collage project now as a means of recording my intention to do the work, and in an attempt to avoid procrastination. I would love to set myself a target of at least two pieces a month but I am going to say at least one piece a month, to be less demanding on myself.  Having said that, I have in January 2021 made two pieces so far.  Hurray!

For my first 2021 piece, I’ve used a cut-up calendar from last year, headlines from The Guardian newspaper (which I tend to buy on a Saturday) and flowers and foliage from my garden.  I’ve made another piece in tandem, without any foliage, so that I can retain this month’s collage.  I plan on doing this with every piece I make from now on (as much as possible).  Last year, I used a lot of natural materials (flowers and foliage) in my collages which meant that I couldn’t physically save them – I only photographed them.  I set up a separate Instagram account for my visual pieces last year – @andothermakings.  I recycled and composted all unsaved materials, by the way!

Josephine Corcoran, Collages for 2021

Traveling to an alternate universe of thinking and writing has been helpful lately given an attempted coup, and racist police response, AND the apocalyptic daily death count and a catastrophically lame vaccine rollout. I don’t manage the leap into literary concentration every day, but that’s actually what my next book is about: what helps us slip into the reading trance, where poetry is concerned, and what that border-crossing does for a reader.

I’m polishing and updating my forthcoming essay collection, to be called Poetry’s Possible Worlds or Taking Poetry Personally depending on what my editor says. It requires reading and rereading widely and wildly to make sure my thinking and research are up-to-date: Carolyn Dinshaw’s exhilarating How Soon Is Now, Nicole Seymour’s Bad Environmentalism, and essays on narrative theory, deep attention, presentism, poetry of witness, and much more. New to me is Brian Attebery’s Stories About Stories, of interest partly because I’m thinking about story in poetry but also because of my investment in speculative fiction. Attebery argues that the cultural importance of literary fantasy as a genre lies in how it “redefine[s] the relationship between contemporary readers and mythic texts.” I’m not wholly satisfied with that as a definition, yet the book is useful and interesting. He describes genre, for instance, as “fuzzy sets”: “the question of what genre a particular text belongs to will never be resolved, nor need it be. The interesting question about any given story is not whether it is fantasy or science fiction or realistic novel, but rather what happens when we read it as one of those things.”

In the larger sense, I write in many genres–poetry, fiction, criticism, reviews, literary nonfiction–but I also think of myself as operating in the borderlands between smaller categories. My poetry has appeared and been reviewed in both “mainstream” and sf venues; it’s been called lyric, political, formalist, fabulist, and more, to which I say, cool. My forthcoming hybrid essay collection (blending criticism, theory, and personal narrative) argues that most poetry is not just fiction but fantasy. It’s fiction because framing it on a page as literary art sets it apart from truth and lies; it’s fantasy because, notwithstanding, it’s obsessed with what’s true. I define fantasy in a way that’s tangential to Attebery’s idea; I think of it as fiction exploring questions of what’s real, what matters.

Lesley Wheeler, Multiple worlds in poetry, fiction, and politics

I’m not gonna sugar coat it. We are in the rubble.

This blog has more or less been built around the idea that we are all required to make something beautiful. But it’s been a long time since I’ve quoted the passage from which the line is taken. Here it is:

“The barrenness of the poetic task: as if every day we look out at a courtyard of rubble and from this are required to make something beautiful. ”

— Theodore Roethke from Straw for the Fire

Well, we have no shortage of rubble at present. No shortage of barrenness, if that’s even a possibility.

I’ve read a lot of advice about how to continue to get through this time and probably I’ve thrown out some of my own. But honestly whenever I read anything in the realm of “thou shalt” my brain just turns off. The best tips seem to come from previous times, for me, anyway. Fernando Pessoa, for example, said this in 1931: “Don’t squander yourself, giving what you don’t have.” And, “Enjoy being the little you are. The hovel you’re given is a better shelter than the palace you’re owed.”

Shawna Lemay, Don’t Squander

How does the writer’s brain work? It is a bewilderment to me, why it must be this particular word, or that particular image. How is it that now, in this time of several national and global crises, I emerge from sleep holding to this juxtaposition: 

    i wake 

    my face is wet 

        the blue heron stands 

        one foot 

        on a slate roof 

Sharon Brogan, questions

Poetry Blog Digest 2021, Week 1

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, you can probably guess what many poets were blogging about. But there were also still books to review, publishing news to share, and other delightful things.


In Roberto Bolaño’s Savage Detectives, his sprawling novel of poets, revolutionaries and Pinochet, I remember most vividly the scene of a poet trapped in a stall of the bathroom as riot police entered her university.   Where else would she be?  She is Auxilio Lacouture, poet and auxiliary individual, manic monologuist.  She is bound by the ordinary, which becomes extra-ordinary, in spite of and because she’s a minor actor in the stream of history.  She missed megaphone calls to evacuate because she was reading poetry in the can. Thus she becomes part of the surreality of reality overlaid on the streets and in her own vivid consciousness, as public and private eruptions, of multiple narratives over several days of her own obsessive confinement.

Lacouture recalls: “I lifted my feet like a Renoir ballerina, my underwear dangling down around my skinny ankles and snagging on a pair of shoes…I saw the soldier who was staring entranced into the mirror, the two of us still as statues in the women’s bathroom…I heard the door close…

“I saw the wind sweeping the university as if it was delighting in the last light of day.  And I knew what I had to do.  I knew.  I had to resist.  So I sat on the tiled floor of the women’s bathroom and in the last rays of light I read three more poems by Pedro Garfias and then I closed the book and closed my eyes and said to myself: Auxilio Lacouture, citizen of Uruguay, Latin American, poet and traveler, stand your ground.” 

My daughter and I were burning onions for a French onion soup the day the insurrection took place.  We witnessed the coup by play-by-play accounts, by a torrent of words as we were darkening onions.  We were pouring broth over heaps of caramelized onions stuck to the bottom of the dutch over, scraping up the brown bits when the coup was going down.  We are part of a river and it’s going somewhere and we don’t know whether we’ll be judged for some other bit of goodness that we did, or didn’t do.

Where were you? 

Jill Pearlman, Stuck in the Stalls of History

It’s been a long year, and it’s only January 9th. It’s taken a couple days to process what actually happened on Wednesday enough to write about it coherently–mostly I was taking in memes (thank god for humor, or we’d all be crying 24/7) and articles and collecting information the remainder of this week. On Wednesday, I was mid-way into a post-break catch-up week and humming along with work, my eye on the troubling covid deaths. That morning, I’d had my first test myself as a campus requirement, and despite it being a bit uncomfortable, nothing too traumatizing. It was a good, sunny day in Chicago, and that afternoon, watching the live coverage from DC it seemed alarming, but also sort of silly. I’d suspected there might be violent protests happening, but not that they’d actually get inside and vandalize the Capitol. And if they did, it seemed kind of ridiculous, since they’d surely eventually be forced out and the count would continue (which is pretty much what happened on the surface.) In the past couple days, far more insidious things have been revealed..zip tie toting para-military, violent threats on social media, hanging gallows and the police that moved a barrier aside to allow the rioters to pass right through. The deaths and injuries to other police.

Kristy Bowen, notes & things | 1/09/2021

I’m thinking tonight of particular photographs of yesterday’s storming of the U.S. Capitol: the image of the burly white guy carrying a confederate flag through the Capitol rotunda. The image of a blonde white woman and her friend, seated on the dais of the Speaker of the House, taking selfies. A line of Capital Police on the steps, two of them jostling each other and laughing as the mob ravaged the building and milled around below them. A video of the President of the United States and his family in a tent, keeping time to loud pop music, while watching the rally on large screens, like it was a party. And then inciting that mob to unprecedented actions inb the history of the country, before retreating into the White House, behind the barricades.

A friend posted the phrase that this would go down as “one of the whitest moments in American history.” Many of us are well aware what would have happened if the people storming the Capitol had been black.

The Italian newspaper, La Stampa, published its front-page story today with the headline, “Once Upon a Time, there was America.”

I’m afraid that sums up how I’m feeling.

Beth Adams, Hermit Diary 53. Few Words for this Horror.

After this week, it’s hard to discuss anything but politics on some level: chiefly, that failed coup incited by the supposed Leader of the Free World and put down with considerably less lethal force and speed than last year’s Black Lives Matter protests were; but there’s barely any moral high ground here in England where our disgraceful government has presided over more than 80,000 deaths from Covid (and those are just the official figures) and pushed the NHS to the brink of collapse, and headteachers and so many others to despair. Meanwhile, Stanley ‘Acquiring French citizenship and vaccinated’ Johnson is all right Jack, as is Murdoch. Still plenty of idiots say or imply, ‘They’re doing their best’ – yes, to line their and their donor-friends’ pockets. Of course it’s impossible to take to the streets to protest during the Covid lockdowns. As Robert Lowell observed in 1964, ‘a savage servility / slides by on grease’. The only people who are out protesting here are the scarily gormless anti-vaxxers and Covid-deniers, with many of whom I had a seemingly endless Twitter spat back in August.

So it’s been appropriate for me that one of my poems published this week in #36 of Poetry Salzburg Review is (mildly) political: ‘The Ballad of Mike Yarwood’. Yarwood was the first variety act I ever saw in person, when I was five, at the Winter Gardens Theatre in Bournemouth, with Peters and Lee as the music act. At home and at junior school, we all loved Yarwood, and he ‘spawned the nation’s mimicry’ in playgrounds and workplaces alike. But having made a fortune from impersonating politicians and celebrities of different kinds, he became a Tory donor and cheerleader and drank himself off our screens. My poem’s ending sees him stuck in one of those hideous Apartheid communities for the absurdly rich which litter parts of the Home Counties and elsewhere, and which JG Ballard described so chillingly in Cocaine Nights and Super-Cannes.

Matthew Paul, Bloody politics

What I can
count on, when

democracy might be dying
at the hands of white men

and women waving
Confederate flags, wearing

Camp Auschwitz shirts,
brandishing zip ties:

the havdalah candle’s
sizzle, plunged

into wine; the scent
of shankbones, simmering;

the song of Torah
where every sentence

culminates, with no
uncertainties;

the winter sun
lingering

just a little longer,
promising better days.

Rachel Barenblat, Count on

“Hah, Ramstad!” a student crowed one day, waving a paper in front of me. It was an assignment written for a different teacher. “Total McWriting and I got an A!”

“Well,” I said, “at least you know what it is. I guess I’m glad you know when and how to use it.”

He grinned.

“And when not to,” I added, a statement more of hope than fact. He shook his head at me and went to his seat.

I knew that he didn’t see himself as the kind of writer I hoped he might become, but I never lost belief that he could. I never lost belief that he should. While in the classroom, I never gave up on my students as writers the way I gave up on myself as a cook. I never lost my belief that they needed to be able to tell their stories from scratch. When I told my students that everyone has the capacity to be a good writer, I believed it. When I told my students that stories–the reading and writing of them–have the power to save lives, I meant that, too. The stories we listen to and tell ourselves have everything to do with why and how the world is what it is. These are things I still believe, to my core, which leaves me, at the end of a week in which those who lack the ability to tell true stories from false have wreaked formerly unimaginable havoc, in a place of wondering.

How did I get to a place where I could stand in my kitchen and tell myself a story in which it didn’t matter if my students couldn’t tell their own or understand enough about others’ to see into and through them? Was I wrong to search for some middle ground; did my acceptance of McWriting for some situations undermine every other message I gave about the value of telling stories true? What skills do we all need to sustain life in situations for which there are no formulas guaranteed to save us? What kind of stories do we need to live and tell to get to a better place?

Rita Ott Ramstad, What feeds us

After flinging an arm across the seat next to him to save a tomato plant from toppling over, [Ross] Gay writes [in The Book of Delights] that the motion is “one of my very favorite gestures in the encyclopedia of human gestures” (214). I agree that it belongs on a “best of” human behavior list. And yes, so delightful. In response to potential impact, our instinct is to buffer the one next to us, the other.

… which brings me back to the googly eye on my lawn and another fascinating human gesture: making stories to explain the world. That’s another kind of buffer, isn’t it? Again, I don’t mean anything close to a silver lining. And I don’t mean for our fabrication to imply any kind of lie; instead, by fabrication I mean the act of creating.

The stories we tell ourselves can be raw and true and hard. But the telling is itself a buffer, something — in Gay’s case a daily delight — that fills some of the space between us and the crash. It braces us for impact.

Carolee Bennett, “something deeply good in us”

As a child, I learned that kindness could cure the snakebite of others’ poisonous actions.

That was so many moons and wars ago.

Wars started by humans and wars that got humans thinking maybe our shared gardens would bloom better with wisteria than wounds.

And so goes this battle for decency and democracy, beginning again amidst its many unendings.

Some endure these conflicts by standing firm in their hate while I exchange shadows with strangers to feel how others move through their lives.

Our shared humanity hasn’t disappeared;

it’s simply huddled in a bomb shelter at the intersection of insurrection and serenity.

Rich Ferguson, At the Intersection of Insurrection and Serenity

I’ve been reading much analysis of the events on Wednesday. I haven’t read much that startled me out of complacency, that made me want to think further and more deeply, but this article on the NPR site did.  Sociologist Alex Vitale says we shouldn’t be focused on the police angle but on the larger issue of justice in society.

But he’s not talking about justice the way most of us have been talking about justice.  Most of us want people punished, want people put in jail, want officers fired.  Vitale says, “Well, look, Americans are deeply committed to their retributive impulses. The United States has become a gigantic revenge factory. So obviously, people are falling back on these impulses — imagining justice as a question of punishment. Imagining that accountability is going to be measured in years of incarceration.”

But then he pivots–he doesn’t leave us drowning in our retributive impulses.  He sees that we have a 2 year window to deepen the conversation.  He says that in the past, we’ve been content to turn a variety of problems over to the police:  homelessness, drug abuse, mental illness.  The police aren’t equipped to handle those issues, and as a result, we see the fractured and broken society that we have today.

He also notes that the people in charge along with the people who benefit–white people, to be specific–prize order over justice.  If we commit to justice, we have to tolerate some disorder, some messiness.

I see two issues here, the one of what to do about this specific group of people who rampaged through the U.S. Capitol building and the issue of how to craft workable public policy that works for more of us.  In terms of punishing Wednesday’s rampagers, I have a vision of education, not prison.  Let them read the books that were on the smashed bookshelves.  Give them a choice of whether or not they’d like to serve their sentence in prison or in the U.S. Congress, being useful to Senators and Congress people and the Capitol police.  Make them write research essays about the artifacts that they trashed.

The question of public policy is even thornier.

We’ve had decades of public policy crafted by wealthy white men, mostly for the comfort and benefit of wealthy white men.  What would happen if we started to listen to other groups?  Not just black, brown, and indigenous groups, which would certainly be a good start.  But what if we listened to mothers and fathers?  What if we listened to immigrant groups and those seeking shelter from ruinous policies in other countries?  What if we listened to artists?  What if we listened to members of religious groups that aren’t mainstream Christian groups?  What if we listened to mainstream Christian groups?  What if we listened to poor people?

Kristin Berkey-Abbott, Committing to Justice, Not Vengeance

Who put their lips
to the hose and siphoned the gas,
so all we heard when we fired
the engine was a mindless buzzing
like bees? They run up the steps
of any sacred temple, dressed
in stolen furs. They smash
the windows in with their horns.
Whatever they touch turns
into bricks or bats or stones.
They straddle every chair as if
it were a sow or a mare.

Luisa A. Igloria, Defiler, Despoiler, Pillager

When 9/11 happened, I didn’t feel guilty about being here. I was still a citizen, but I felt displaced. My friends still in the States, from California to Kentucky to Michigan all wrote to tell me about how “we” were feeling — assuming I was outside of the “we” affected. When Norwegians consoled me, it was difficult to shake the feeling of being some kind of fraud. I didn’t know how to feel. Which feelings were “legitimate” for me to have, and which I was appropriating. I kept hearing my grandmother calling me a drama queen.

When the children were murdered here on July 22nd, 2011 a lot of my students told me how “we” felt about it — sometimes describing the cultural framework of Utøya, not considering that I’ve lived longer in this country than they’ve been alive. Or that my own children were in that age group that was most intimately affected.

Recent years have been even more difficult. No longer holding legal citizenship, and no longer recognizing the culture I knew, it’s almost like having an out-of-body experience sometimes. Hovering over an old life. Like a character in Sartre’s No Exit. Or like watching loved ones heading for a car wreck, helpless to intercede.

Distance helps you find different perspectives. While different doesn’t mean more correct, but I do think it means more complex. It’s why there are grants for emerging American writers to live abroad a while before returning to write about their home country. I thought that having grown up in a white-trash dysfunctional family, I was savvy to the “real” America. But being here, I’ve learned things about the hidden realities of the culture I thought I knew.

But lately, I think I am having the same kind of epiphanies that so many Americans are: every myth I was taught in school — from the Cherry Tree to Lincoln’s Emancipation Proclamation — has been turned on end, toppled like theater scenography. Part of it is just a matter of maturing, I guess — a matter of crossing demographics and cultural boundaries. The fact that social media has made diversity more visible to many of us.

A huge part of it is the BLM movement.

I don’t think I am finished crying about Wednesday’s seizure of the Capitol Building. I don’t think the chapter has closed. The hand-wringing and helplessness seem both familiar and not. This out-of-body experience seems like something many of us are sharing right now.

There’s the scene in the Wizard of Oz: Pay no attention to the man behind the curtain.

I feel like the curtain has been drawn back and I still am waiting for whatever is there to step out of the darkness.

Ren Powell, Things I Do Alone in the Car

what became of the childhood innocence
when we all played together
tag hide-and-seek stickball kickball
and then later but still really children fell in love
and those first nervous kisses and fondlings
and going out with your friends
your crew
feeling like the whole world was wide open to you
and how on earth does that degenerate
into some of those same children growing up
into a frothing rage
storming the capitol building
screaming the language of hate
surely we could still be like children
laughing together

James Lee Jobe, screaming the language of hate

It’s a few days later, Sunday. I have talked to my little brother, who actually lived through a coup attempt when he live in Thailand. I tried to tell myself I was safe, I drank liquids and slept at irregular hours. I’ve tried to write some poems about America, but they weren’t any good. I sent out a sample from my pandemic manuscript (yes, I’m probably not the only person who wrote a book of poems during the last year – we certainly had the time on our hands) and sent one of my other manuscripts to a publisher. I tried to take pictures of my birds. January is a cold, wet month typically, but we’ve had colder, rainier weather than usual, resulting in landslides and giant trees coming down around my neighborhood. Talk about pathetic fallacies.

So I’ve been reading poems – old poems, that I loved as a kid. Fragment 68 by H.D., sonnets by Edna St Vincent Millay. Does poetry fix anything? No. Does my furious doomscrolling or tweeting at Mike Pence or the GOP congresspeople to impeach or invoke the 25th amendment do anything? Maybe not, either. Being a poet sometimes means being an observer. Being an observer sometimes makes you feel powerless. I’m in bed right now, looking at the rain, feeling tired and anxious.  I know there will be better days ahead. Sending love and hope out to you, my friends.

Jeannine Hall Gailey, A Week to Make Us Think, Is 2021 Going to Be Worse? Attack on America from Domestic Terrorists, and Poetry as Solace

It’s not going to let up, is it? Does it feel like there’s more news because I’m at home more? Probably not, but it does seem to be getting more momentous as the days go by.

Arguably, it’s always politics, all of the time, but as Matthew Paul rightly points out here, it’s almost impossible to ignore the sheer amount of politics going on. However, I’m aware he mentions me in his post and I don’t want this to be a circlejerk, so I’m going to move on. I don’t think there’s anything that I can add to the weight of discourse around current events beyond relief that there appears to be grown-ups on the way in in the US (for all the faults of Biden and Harris, they are at least stringing sentences together and not calling for mass insurrection) and positive news about the vaccines (for all the uselessness of our own government in organising the rollout).

In an attempt to distract myself, I’m going to focus, for now, on the small coincidences of oranges and a poem.

Mat Riches, A Coincidence of Oranges

You wouldn’t think that a book of essays on disasters would make you feel better, but somehow it did make me feel better. Because it’s less about disasters and more about, as she says, the way we think about them. She says on the end of the world, “I’m not sure the doom will occur like a moment, like an event, like a disaster. Like the impact of a bomb or an asteroid. I wonder if the way the world gets worse will barely outpace the rate at which we get used to it.” 

She also notes that her research into disasters was comforting. “We’re still here, after all.” But goes on to say: “But I can only take so much comfort in the past. This point in history does feel different, like we’re nearing an event horizon. How many times can history repeat itself?” She wrote this before Covid, before these recent events, obviously. But you have to hope that this is some kind of a turning point.

We’re seeing more, the fog is lifting, the mirage is revealed as a mirage, even though most people were calling the iceberg an iceberg all along. A disaster, as it recedes into the past, can be analyzed, dissected, essays can be written about them. Questions, new questions will be formed. How did we get used to this? How inevitable was it?

Maybe it’s naive to just ask, when we’re deep in the thing, how are we to get through to the end of disaster? To the other side? Are we to be musicians playing on a sinking ship? Maybe?

You’ve heard me talk about a strategy I’ve used to get through to this point, which is to do one fun thing every day.

I recently read the inspiring article on Neil Pearte, drummer from Rush, in Rolling Stone Magazine and here’s the quotation I keep coming back to:

“What’s the most excellent thing I can do today?” he used to ask himself.

So maybe that’s a better way to put it. Either way, I don’t think it’s frivolous.

The best ideas, creative ideas, and I think going forward we’re going to need a LOT of those, comes out of play, out of different ways of thinking. If you want to get rid of brain fog, see things in a new way, do something fun, do something excellent. Or, I don’t know, go down to the river and play with ice shards. Do something excellent and then write about it, or sing about it. Because that’s worth something. It’s worth a lot.

Shawna Lemay, Mirage on the Horizon

What an up and down week I’ve had, I’m talking rollercoaster levels.  Terrible news, terrible weather, low energy, low light.  Then, from somewhere, a blast of a good joke, eating something delicious, a dazzling shot of sunshine, something captivating on telly (iPlayer),  poems that speak to me, music that brought me to my feet to dance (after a fashion), making headway with a project, making plans about another project – and then, back to feeling a bit despondent (actually, very despondent).

You’re often like this in January, says Andrew.

Yesterday, we drove five minutes to the Avon and Kennet canal (or is it the Kennet and Avon canal?  I’m never sure) and walked for about an hour, thinking, chatting, stretching our legs, being outdoors, smiling at and being smiled at (mostly) by a few other walkers.  It cheered me up.  Don’t criminalise people for doing this please, anyone.

Josephine Corcoran, Reasons to be or not to be cheerful, or not. Or something.

Ok, so it was a terrible week.

But in other news, not such a bad one.

My friend Katherine sent me her Christmas poem and it left me feeling elated. That I had already read the poem of the year – in early January!

Anthony Wilson, Reasons to be cheerful

they show me the bees
tweeted from the antipodes 
in a blizzard

Jim Young [no title]

My fourth poetry collection, Strangers, will arrive in the world in April 2021. The book will be published by Biblioasis, with (loving and fastidious!) editing by Luke Hathaway and (beautiful and striking!) cover design by Christina Angeli. I can’t wait to get it into readers’ hands.

Strangers is a themed collection drawn from a decade of writing (the earliest in the book date their composition back to 2011), but written in earnest since the birth of my son and the publication of The News in 2016. The poems explore lineages – familial and literary – and all the ways those we hold closest are both a part of us and, in some ways, forever beyond our reach. 

Written during a time when my two half-brothers died, my son was born, and my mother was diagnosed with dementia, it’s also about early middle age: a time when the great loves of our lives begin arriving and departing simultaneously, with little time to fully attend to them all. Strangers is one small attempt at such attendance. 

Rob Taylor, “Strangers” is on its way in 2021!

The shape
the poem
takes,

the bones
of what
it means

but does
not say.

Tom Montag, THE SHAPE

My recent reading has also delighted me with word meanings. I was reminded in Chess Story that a dilettante, that dabbler so often despised for surface involvement, is simply someone who delights in, say, the arts, as an amateur is someone who does something for the love of it. Zweig speaks of “a true dilettante in the best sense of the word, one who plays for the pure delight–that is, the diletto–of playing.” I also looked up “antimacassar” (I think in The Queen’s Gambit?), a word I always get from context, and delighted in the discovery that this upholstery protector = anti + Macassar, a brand of hair oil. Perfect!

Kathleen Kirk, Chess Story

And by reading, I mean, reading like a practitioner. That is, when we meet a poem that affects us, we need to take it apart and figure out how it did its magic. And we need to do this over and over again with all kinds of poems. And we need to try the tactics, retry, try something else.

And I believe — I have to believe — by doing this over the course of who the hell knows how long, we’ll develop some instincts, some skills, and some confidence. And when the poem isn’t living up to itself, something in us will feel uncomfortable, our skin will not fit us quite right, our ears will flick forward and back at some sound that’s not quite right, some voice inside us will whisper, “Sorry, you just don’t have it yet.”

And we’ll sigh and unscrew the carefully packed poem, pull all the guts out, and start all over again, adding this, taking away that, turning the pieces around, and putting it together again, then sitting with it to let those hard-won instincts have their say, their little jabs and hmms.

Marilyn McCabe, Barrelin’ down the boulevard; or, One Last Thing About Revision (This Week, Anyway)

Darklings, I have missed you and now I am finding my way back to written language to writing to poetry after my return to reading in such great gulping swallows and healing myself of the hunger that that particular loss opened in me. Here is my hand seeking in a dark room if you wish to take it. I miss you all but have followed your voices now bringing mine back in. Hello. Hello from the island. Hello.

Rebecca Loudon, Sending out tendrils through the stars

The podcast is back for 2021! In yesterday’s episode Peter interviewed Mario Petrucci, and then we had a bit of banter about prose poems, New Year’s resolutions and whatnot. We have some very interesting interviews coming up over the next few weeks, including Mary Jean Chan, Inua Ellams, and a number of other lovely poets and pundits to be confirmed ….why not have a listen and sign up?

Robin Houghton, Readings this coming week, Planet Poetry & Uni stuff

I seldom review prose on Rogue Strands, but I’m making an exception today for Liz Lefroy’s book, I Buy a New Washer (and Other Moderate Acts of Independence) (Mark Time Books, 2020), simply because it contains far more poetry than the vast majority of collections that are brought out by major publishers.

I Buy a New Washer (and Other Moderate Acts of Independence) takes Lefroy’s long-running blog as a point of departure and shapes it into 52 pieces, most about a page long, one for every week of the year. It offers snippets of a life, a family, a job, sometimes portrayed head-on, sometimes aslant, but always accompanied by a feeling that (like the best radio presenters) Lefroy is engaged in a one-to-one chat with the person who’s reading her book.

This effect is achieved via the presence of a fluidity and a supple cadence in each sentence, Lefroy’s excellent poetic ear underpinning every entry to such an extent that I’m tempted to label them implicit prose poems. What’s more, the easy-growing language then lends additional impact to her invocation of arresting images at crucial points, which is another extremely effective poetic technique.

Matthew Stewart, Prose that’s packed with poetry, Liz Lefroy’s I Buy a New Washer (and Other Moderate Acts of Independence)

One thing I’m continually impressed by in Lisa Summe’s work is the range of lyric voice she’s able to tap into. From direct intensity to nuanced, meditative insight, there’s always an emotional pulse to her work. […]

In “Your Pinterest Board Called Wedding” (also below), nuanced, meditative insight is created through the speaker’s reflection as she goes through an inventory of the title’s Pinterest board of an ex. Through this inventory, we get a variety of images and details whose emotional poignancy works through juxtaposition. For example, early on the speaker notes “so / you want an oval engagement ring” and follows that up with “my grief / circling around: coming back as bird.” This braiding of metaphor and image creates a palpable pathos, one that stands in direct contrast with the title. Where the mention of social media and the equally “social” weddings imply connection and celebration, the speaker grieves a loss of connection. There remains, however, a faint tone of celebration, the speaker in awe of the beloved even at a physical and societal distance, but this tone is modulated by grief and realization. The formal use of colons throughout this poem help in this modulation of tone, setting the pace while also letting the reading experience be one of rumination, speaker and reader side by side in awe and regret.

José Angel Araguz, poetry feature: Lisa Summe

A poem that returns the reader to the individual is ‘Ode to a Pot Noodle’. Owing something to Neruda’s Odas elementales (1954), the narrator is taking a short break from “fast-paced” hospital duties – a Pot Noodle is all there is time for. In the daze of night and fatigue, images arise (of course) of her distant home, her grandfather, of Philippine food and conversations that, in the time it takes to boil a kettle, vanish as quickly. She addresses those distant people: “this should have been an ode to you. / Forgive me, forgive me”. But the Ode has already been written in the course of Antiemetic for Homesickness. The collection is a testament to the presence of the absent, the persistence of memory, the heroism and suffering of those who we hold at arms’ length, invisible but without whom our modern society – our NHS – would fail to function. In the time of Covid – and after it too – Romalyn Ante’s book is reminding us of debts and inequalities too long unacknowledged.

Martyn Crucefix, Tagay! on Romalyn Ante’s ‘Antiemetic for Homesickness’

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

I do think writers have a responsibility to observe and record culture. I have great admiration for poets who take up current events in their work. I don’t mean that poems need to be explicitly political (though we could argue what that word means), but that they are making space for ambiguity and complexity of human experience on the page. I have edited a nature journal (www.thefourthriver.com) for the last seven years, and we are always discussing how to refresh notions of what a “nature poem” can or should be. Our nature is not the nature of Wordsworth or Thoreau or even Marianne Moore and our art needs to reflect that.
[…]

9 – What is the best piece of advice you’ve heard (not necessarily given to you directly)?

“Learn the lessons of boredom.” –my husband, Paul, to our kids.
[…]

12 – What fragrance reminds you of home?

Uh, vaguely damp dog?
[…]

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

Luck.

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

I recently finished Carolyn Forche’s memoir What You Have Heard is True, which tells the full story of her time as a young poet in El Salvador. It was riveting. With my teenage son, I recently watched Hotel Rwanda for the first time. It was also riveting, for many of the same reasons the Forche book was. Human barbarism and human beauty & resilience inextricably twined.

rob mclennan, 12 or 20 (second series) questions with Sheila Squillante

To this, I’d like to add a haiku by another Snapshot Press author, Ron C. Moss. A poet friend of mine, Sue Riley (winner of the 2019 Ginko Prize) leant me The Bone Carver by Moss and I’ve loved it from start to finish. The ‘reflections’ poem I’m going to quote is this one:

highland lake
burnt button grass
on both sides of the moon

Firstly, I’m impressed that this ‘reflections’ poem doesn’t actually mention the word ‘reflection’. We see the image of the ‘highland lake’ as a mirror in which the moon appears without the writer having to hammer it home. The idea that we can see ‘both sides of the moon’ somehow suggests, to me at least, that not only can we imagine the reverse, the dark side if you like, but we also see a half moon rising above the water, with the other half reflected below. If so, this might also indicate the time of day – twilight.

The very specific type of grass, ‘button grass’ locates the poem in the southern hemisphere (Moss is a Tasmanian writer and artist, plus Wikipedia will tell you that button grass forms part of a unique habitat in Tasmania). The alliterative use of ‘burnt’ is precise in its evocation of place too (Wikipedia says ‘buttongrass is relatively flammable and the ecological community is adapted to regular burning’). So, within three lines the poet has managed to convey both the visual image of the moon on/ or reflected in, the lake, draw a comparison with the button grass’s spherical flowerer heads and the rising moon, and also imply a contrast between the heat of the bushfire with the quenching waters of the lake. In the author information, it says that Moss serves as a volunteer firefighter, but it’s not necessary to know this – the poem subtly conveys his knowledge and experience without needing to state it.

So, I want to say thank you to all those mentioned in this post. You created a web of connections that led to me focus on this poem and write down my thoughts on this chilly Sunday afternoon. Outside, the paths are slippery with wet ice and the dog is content to lie on his back near the radiator rather than go trekking across the fields. Nevertheless, I shall be going out shortly, well wrapped up, to experience the thaw, such as it is, and hopefully to take inspiration from it for a ‘reflections’ poem of my own.

Julie Mellor, Reflections …

My video floodtide has been selected to be shown at the Gallery for Sustainable Art in Berlin as part of their 1.5 degrees international exhibition, running from 15 January – 12 March 2021. The exhibition is about whether or not we reach our climate goal and includes object, installation, photo, painting, video, and readings.

floodtide imagines a city in the near future when sea levels have risen significantly. What does it look like? How will we cope?

The composition process making the video was very complex. Nearly every scene has been composited from multiple sources requiring more than 500 individual sequences from original footage filmed around Adelaide, the Fleurieu Peninsula, Inner Suburban Melbourne, the Western Highway, and Far North Queensland. Each scene required matching of lighting intensity, colour and direction, as well as wind direction (in clouds, water, trees, etc), atmospheric haze, perspective, scale and more. In most scenes containing water, footage of the sea has been added to the landscape or cityscape. Similarly, nearly every sky and cloud bank has been composited from mixed sources. Almost none of the building skylines is from a single location.

These scenes might be imaginary, but the reality may not be far off…

Ian Gibbins, floodtide exhibited in Berlin

I gave a reading yesterday in the Poetrio series at Malaprops Bookstore, run generously and flawlessly by poet Mildred Barya and Malaprops Director of Author Events, Stephanie Jones-Byrne. I forgot to take a screenshot or watch the clock because my co-readers Kathy Goodkin and Eric Tran were so amazing, but the recording is here, and you have the option of supporting a great indie bookstore by ordering any of the books (or others) here. (Speaking about clocks, I should say we each kept to our time of 12 minutes-ish, which is basically a holy miracle of restraint where poets are concerned.) Mildred introduces writers not by listing their accomplishments but by reflecting on their poems, setting a mood that was both thoughtful and celebratory. In this case, she noted how many ghosts populate all of our new books. Kathy spoke to that in a wonderful way by reading a poem about the period costumes ghosts are described as wearing, speculating that in twenty years we might be haunted by ghosts in tee-shirts and skinny jeans. Eric began by talking about building an altar to ancestors, noting that everyone wants to escape the ghosts of 2020 but maybe, instead, we could consider how to honor them. It’s a moving idea.

I was also impressed by the emotional range of Kathy’s and Eric’s poems–grief, hilarity, anger, love–and how they talked about that in the Q&A. Eric’s advice for infusing a serious poem with humor is to take your first draft and make it gayer. Add glitter.

Lesley Wheeler, Winterred

Twelve of the thirteen members of Artists’ Book Club Dove met for two hours in the Land of Zoom on 2nd January. Thanks to Thalia for the use of her account.

It’s taken me a week to lick my notes into shape and collect everyone’s photos.

There was a new energy in the air. In our separation we are meeting one another at a deeper level. Trees have been planted at the Dove. Some of us are taking online courses in a variety of different art-forms. Spaces are being cleared. We have rediscovered old diaries and commonplace books. We have been connecting, via stories and photos, with our foremothers. We spoke of the family stories behind many of our Christmas decorations. We are wondering how to pass our knowledge on to the next generations as a gift, not a burden.

Ama Bolton, ABCD January 2021

But we are spirits of another sort, which is to say
That kindness walks among us, and grief,
And uncertainty about how to greet this guest.
Do we offer him a seat, hang his black
And faded hood up on the hat rack, stand his scythe
With the umbrellas?

Dale Favier, A Surgeon Extracting the Stone of Folly

Poetry Blog Digest 2020, Week 51

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, poetry bloggers continued to reflect on the past year, as people do this time of year. Especially on a year which nearly everyone wants to be done with already! I’m thinking I ought to have some deep thoughts—or any thoughts, really—about this past year of poetry digests, but as usual, after six hours of reading blogs it’s all I can do to string words together in a coherent order. But thanks to all the bloggers who have written so many moving, entertaining, and surprising posts this year, and tolerated my generous excerpts. It’s been a joy and a privilege, etc.


Last week I spoke of being panicked. This week’s P-word: pummeled. It’s how I’m feeling at least, typing this out this Friday morning. The word describes the world as well, no? With government officials seriously delaying aid for people while corporations get tax breaks, billionaires billion on, and so many people suffer from the pandemic, whether from the virus itself or from the peril and strain the pandemic has placed us under in our respective lives. Here are some bright spots despite it all:

Early this week I participated in a Drink + Draw virtual session hosted by Flux Factory. Ani and I logged in and did some figure drawing. Models took 30 minutes each working through poses in their respective spaces. Flux Factory is a great art community space based in Queens. Here’s info on the next session which will take place in January.

The generous Gillian Parish has just published a new edition of her spacecraftproject. Check out poetry by Vince Guerra & David Maduli here — & do click around the site for some healthy, illuminating spacing out :)

Lastly, this week I participated in a final publication-focused virtual session with my ENG 375 Poetry Workshop students. Part of the final assignment for this course was revising two poems to be included in a digital class anthology. The anthology, entitled tending to the roots, also includes their art contributions. It was an honor to design this anthology as well as build with them and hold space for each other’s poetic selves this semester.

Check out tending to the roots: an ENG 375 class anthology below:

eng-375-class-anthologyDownload

José Angel Araguz, art, space, poetry

from then to now
is never the same distance as
from now to then

From my new chapbook: “The night is my mirror”.

Through the lockdown and the near-isolation, words were hard to find, but this came together in the last few weeks and I am delighted to close the year with relief, gratitude and hope.

I think the poems are real and personal and have been churned out by the silence, unease and reluctant acceptance that was 2020. If you’d like to read the chapbook, do give me a shout and your email information.  and I will send you a copy.  (leave it in the comments section or write to suspension.point@yahoo.com)

Happy holidays and a very happy new year.

Rajani Radhakrishnan, New chapbook: The night is my mirror

2020 was a wild, terrible, heartbreaking, exhausting, trying year. I finished a degree I wasn’t excited about, at a school I didn’t care for (it was a master’s for work and thankfully they paid for it). My first full length collection of poetry, Beautiful & Full of Monsters, was published by Vegetarian Alcoholic Press the week the pandemic rocked the world so any and all readings, appearances, and book tours were cancelled. I was able to do a lot of virtual readings but I missed the energy and vibe of reading in person. My dad died. Friends and family suffered and struggled and we all tried to just make it through the year, through the month, through every exhausting week. And through it all, I wrote.

I was lucky and eternally grateful to have found a few virtual writing workshops early in the pandemic. One workshop that has sustained me from the start is run by Community Building Art Works – most are free and all are fantastic. I highly recommend checking them out and joining if you can. The community and creativity I find there has held me throughout the pandemic. I’ve also taken two of Jon Sand’s Emotional Historian workshops and these too have been wonderful and amazing. These workshops kept me writing through a very trying year.

I’m always excited at the end of the year to see how many notebooks I’ve filled. This year did not disappoint, I’m on my 7th journal this year. You can see when I started gravitating toward the more basic Moleskin journal.

Courtney LeBlanc, Journals of 2020

I curl my fingers
into the thatch
inside the hollow.

Out come seeds
little teardrops
slippery and pale.

As they fall
the china bowl
rings like a bell.

*

These shortest days of the year are always a struggle for me. Like my mother before me, I count the days until the light will begin to increase. I practice finding sustenance in small things: in zesting an orange for cranberry bread, in cooking a new recipe, in turning squash seeds into a roasted snack instead of throwing them away as I would once have done. This pandemic winter, those coping mechanisms feel even more critical. There’s so much I can’t repair in this terrible and beautiful world. Sometimes it feels almost inappropriate to seek pleasure when there is so much suffering. In those moments I remind myself that I would honor no one by ignoring the little blessings I can find even in these times. May balm come to all who suffer, and may life’s tiny sweetnesses help us through.

Rachel Barenblat, Seeds

I am very pleased I am now off work until the new year; I feel like the cumulative effects of the stresses and strains of this tear and then my time in court have utterly wrung me out, and that a long break is what’s needed. The Xmas shopping has been done, 99.9% of it wrapped and ready. Just one thing to arrive and wrap and it’s all done. […]

An acceptance last week means I have now equalled my acceptances for 2019, which had been a record year, so I think that counts as a good. I’d like to think in some way this post is also tempting the gods and that the remaining subs (30 poems across 7 locations) will come in with acceptances now just to mess up my charts Prays.

What’s interesting (to me) is that it’s the same number of acceptances with a significantly lower number of poems sent out and to fewer places (36 vs 47, uncharted), but the success rate has increased from 9% to 12%…

I’d like to say this has something to do with me boxing clever about my subs and the quality of my poems increasing, and I hope that’s true, but I can’t say that as it’s not for me to say. I think I’ve certainly aimed at some places I didn’t think I’d get in, and on most occasions I was correct, but there were a few where it was a hit and hope and I “connected”. More of that in 2021 please, but I suspect it will only get harder.

Mat Riches, Off The Charts

When I get cold or melancholy, a kind of laziness overtakes me. At bedtime, I don’t want to take off the layers of t-shirts under my clothes to put on my jammies. (Fortunately, I am good at taking off a bra under my clothes and out through a sleeve like Jennifer Beals in Flashdance.) On sad days now, when I look at the Christmas tree and know my kids aren’t coming home, I don’t want to get up from the couch, where I am bundled in a soft, blue blankie, reading a book, even though I know I should get up and move every hour—to keep warm, to keep the body moving, not sitting, because it’s wiser, healthier, not as sad.

And then I do it, because I am in the habits of diligence. I hear the washing machine stop, so I go put the clothes in the dryer and start a new load. I hear the mail carrier come, so I get the mail, then put on a coat, and re-deliver a mis-delivered piece of mail to my neighbor next door. I diligently write down who sent a Christmas card, and when, on my little list, and commit to writing a card back, if I haven’t sent one already, during this especially good year to maintain connection with people…. 

I wondered if the more precise word was lassitude, but I don’t think so. Lassitude is a weariness, a lack of energy, and so is lethargy. Laziness is a disinclination to work. At these sad, cold, lazy moments, I am disinclined to get up and do the necessary bit of work, but, once I do get up, I have the necessary energy. I do a lot of small, steady tasks, all the time. I have patience and perseverance. I keep to-do lists. 

Yes, my laziness is temporary, cold-induced, connected to melancholy. I’m aware of this…and of the way sadness can clutch at me sometimes. I can feel the pull down. I have various ways of saying no to the pull, even as the tears fill my eyes and start their spill, even if it’s just getting up from the book I’d rather read than do anything else, to do anything else. 

And then, back to the book. And on to the next book. So far this year—and there are two weeks to go—I’ve read 155 books. These include plays, poetry books, chapbooks, and graphic novels, as well as novels, memoirs, books of essays, books of short stories. My coffee table is stacked with books ready for a second lockdown, books not yet begun, finished books not yet shelved elsewhere, books in progress with bookmarks sticking out, library books that will automatically renew. Clearly, these books, these stacks, represent my combined laziness vs. diligence, conflict resolved. And a Slattern Day in the blog.

Kathleen Kirk, Laziness vs. Diligence

It was a great pleasure to be interviewed by Alex Graffeo, Managing Editor for OyeDrum. OyeDrum is “an online magazine and intersectional feminist collective. We are a community dedicated to women’s creative and intellectual work.” You can read more about the name OyeDrum here. They feature a quarterly themed issue from a selection of curated work, and a weekly section open to all genres.  I love the aesthetic of their site, so I interviewed Head Witch/Founder Amarantha da Cruz to find out more. See my interview with da Cruz and a link to their submission guidelines here. They also run a podcast entitled “In Conversation.” Make sure to check out all three episodes!

Trish Hopkinson, “The (Not So) Selfish Poet: Talking Feminism and Community with Trish Hopkinson” via OyeDrum by Alex Graffeo

The virus year has left me questioning the relevance of my poetry practice to the world of literature, such as it is. I have not been sending work to journals. I have not spent much time on revisions nor on going through my work in order to assemble another manuscript (or two).

My father suffered awhile, then died–what can I say? It has been hard to write, especially given the mental challenges of learning a host of new technological platforms and completely redoing my syllabus to adapt to the changed methods of college classroom instruction and tutoring. How does the saying go? “I ain’t as young as I usta be.”

Given that the year has been even more of a media frenzy and social norms chaos than the years preceding it, the word unprecedented has been overtaxed into meaningless syllables; and the word relevance has taken on a sort of socially-annointed value that leaves me certain I have nothing to contribute except more noise. Why bother to write poems? It may be that there are more useful ways I can spend my “senior years.” Reinvent myself as an advocate or mentor in some other field: gardening/environmentalism, education, literacy, hospice care…

Maybe I could just go back to hobbies. Photography, embroidery, sketching and painting, flower arranging, hiking. Or take up some new craft or endeavor. Maybe birding. And am I then somehow engaging in more or less relevant processes?

Garth Greenwell has an essay in a recent Harper‘s, “Making Meaning,” in which he poses questions about the concept of relevance as it relates to art and concludes that he disagrees with “relevance” as a critique criterion, one “that feels entirely foreign…to the real motivations of art.” […]

The essay is worth reading in its entirety, as some of its assertions deserve discussion. Especially noteworthy is Greenwell’s anecdote about reading and loving Augustine’s Confessions, a text I re-read and still love for many reasons, not one of which is due to religious beliefs. Greenwell says Confessions is still relevant today because of Augustine’s creative and relentless questioning and the ways he expresses his own confusion, “making bewilderment itself a tool for inquiry.” Yes! Among, of course, many other things.

Ann E. Michael, Relevance

Introducing Seeds of Hope, the second anthology of poems, prayers, reflections and provocations from the human rights organisation Amos Trust.

It includes contributions from Zena Kazeme, Arundhati Roy, Ben Okri, Cornel West, Audre Lorde, Angela Davis, Robert Cohen, Maya Angelou, Lemn Sissay, Langston Hughes and Abdelfattah Abusrour. I am honoured to be included among them.

You will find nothing comfortable here, but you will find solace and hope in this dark time. Arranged around themes with titles like Home, Hope, Her, Planet, Solidarity and Protest, the book is premised on the view that

‘to be hopeful in bad times is not just foolishly romantic – it is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness.’

There are also some brilliant Spotify playlists scattered all the way through the collection, one of which I’ve posted below.

It would make a brilliant Christmas present for the activist loved-ones in your life.

Anthony Wilson, Seeds of hope

In later years, when I wonder why my blogging fell off a bit, let me remember that these have been days of getting to campus early so that Vet Tech faculty could get set up for final lab practicals.  Let me remember the grading in the wee, small hours of the morning, wee, small hours that seeped into the regular morning hours.

I wish I could say that I was blogging less because I was writing more poetry, but that was only true one day.  I had a goal of writing a poem a day during Advent, and I was faithful for about a week, but I’ve completely dropped off.

However, I have some ideas for poems, which I might have never had, if I hadn’t been looking for daily observations.  Now to get those poems written before I forget them.  One is menopausal Jesus who feels the rage that comes with wondering when it will finally be his turn.  And of course, I can’t remember the idea I had for the other poem, but it may come back to me at some later point–and then I’ll amend this post.

For me, this process is similar to knowing I had an interesting dream, but I can’t remember it.  And if I stop trying, some times, it comes back to me in a flash, and I wonder at the fact that I ever forgot it.  Poem ideas are similar.  I feel lucky to have them and lucky that they don’t abandon me when I can’t write them down quickly enough.

Update:  On Monday evening, I saw a woman with a shopping cart, but I wasn’t sure what was sticking out of it–a beach umbrella?  a sleeping mat?  a lounge chair?  Was she just hauling lots of stuff back from the beach or was she hauling all her stuff around?

On Tuesday morning, I saw the cart first during my pre-dawn walk, and then I saw the woman stretched out beside it.  It was at a house that was for sale, on a driveway covered with a canopy.  

All day I thought about the woman and the Nativity story about there being no room in the inn.  It’s too obvious a connection.  But I do wonder if there’s a different poem lingering in the background.

Kristin Berkey-Abbott, Days of Inspiration and Gingerbread

This mahonia has been in my garden three years now. This summer I was tempted to dig it up as it never seemed to flower. We used to have one outside the kitchen window, and it was always full of bright yellow flowers. It attracted lots of blue tits and it was lovely to watch them flitting about between the spikey leaves. When we had to uproot it to make way for our kitchen extension, I thought it would be a simple job to replace it. However, as I’ve said, the successor has kept us waiting! I realise that there’s a lesson to be learnt here. It’s about being patient, being prepared to wait; it’s about hanging on when things don’t seem to be moving in the right direction. I’m not trying to draw any direct comparisons to the pandemic, or, on a more personal level, the ups and downs of being creative. I’m simply trying to focus my attention on what’s important, the here and now, the wonder of these sprigs of yellow in an other wise dull garden in December. Nature has a way of rewarding us, if we allow it to. Under different circumstances, we would probably have been away on holiday this week. The current restrictions have put paid to that. But if we’d gone, we would have missed this first flowering. Let me say that for this, and so much else, I’m extremely grateful.

Julie Mellor, winter light

A suitably seasonal haiku of mine is featured over on the blog of Fokkina McDonnell’s Acacia Publications site. It seems like a lifetime ago that I wrote it and if ever there was a year in which time has played tricks on me, then it’s 2020. No wonder time-travel is such a key component of my poems.

It’s certainly hard to have a glass half-full at the moment, especially now that we inhabitants of London and the South-East of England are effectively homebound for the Christmas period – and probably for a good while into 2021 – for all but essential activities.

I’ve moaned myself out about our shambles of a government and their back-of-a fag-packet policy-making, and about QPR’s seemingly endless run without a win. I’ve been reading Buddenbrooks, which has sat on my shelf for many years without me starting it, but now I’m halfway through I’ve found I haven’t, currently at least, got the patience to finish it, which makes me sad.

Perhaps I should stick to poetry. Yesterday I read half the latest issue of one of my very favourite poetry magazines, Butcher’s Dog, the opening poem of which, ‘Japanese Wind Telephone’ by Sarah Stewart, is as beautiful as anything I’ve read all year. Unlike Buddenbrooks, I will definitely read the second half shortly.

Matthew Paul, Adventing

Too serious for photographs, though my god she was beautiful, and so close I wished I could pick her up in my arms and take her home on my own good legs. Coyote, sleek and strong, but three-legged traveling, her left front paw or wrist held carefully, painfully, out of contact with this world, wounded somehow. I hate to see this, but also know she has a decent shot at healing whatever it was that hurt her, and does not need to be shot. She will not be found by a wildlife person’s tranq darts hours from now. She will be gone in the way of wild beings. Deep snow makes travel so hard on three legs, so she’s using the road, pain tightening the skin around her eyes. I blocked the road with my car, hazards on, and gave her time: the farmer in his tractor stopped at the edge of his field and gave her time, too. She gazed at me for a long time, then at him. She considered the banks, the depths: when pain is very great and the requirement is stamina or death, there is actually no fear, I know from experience, and so she weighed her routes, us making no threat, and chose the road itself again, headed toward Norwottuck and, I hope, a safe den where she can heal. How I wish I could drive her home, give her some painkillers and a freezer full of chickens. Sure, she’s interpretable as a direct metaphor for my own life right now, but she’s not a metaphor and not about me, or you, even as she is so easy for many of us to empathize with to the depth of marrow: she’s a real being, really suffering, really using the three legs she does have to get to whole again somehow, and it is hardest when the only way through to safety and eventual healing is the most dangerous, and involves not only impossible stamina and great risk, but sustenance when hunting isn’t possible. May she find her resources. May she survive and thrive.

JJS, canis latrans

Outside, evening arrives
faster than it can fall. Trees
drop the last of their leaflets,
knowing this time of year is past

announcement. You couldn’t stop
walking into it even if you tried:
even if you held still, you’d feel
the landscape bristle with either

hurt or love, a kind of static
electricity. At last, you might say,
or Oh; as one by one, lights flood
the insides of their bowls.

Luisa A. Igloria, On the First Law of Thermodynamics

RT: Haiku in Canada has an unusual structure (as the subtitle suggests): part memoir, part history, part poetry anthology, part roll call of Canadian haiku writers. The practice of gathering the biographies of contributing poets into an essay is shared by other haiku anthologies, such as Haiku in English: The First Hundred Years(eds. Kacian, Rowland and Burns, Norton, 2013) and The Haiku Anthology (van den Heuvel, Norton, 1999), but in your case the poems themselves and personal reminiscences are also rolled into the mix. You never know what will come next: a personal anecdote, a poet’s or writing group’s bio, a clutch of poems, an excerpt from an essay on the nature of haiku, etc.

In your foreword, you note that Sei Shōnagon’s The Pillow Book, which itself roams mightily, helped inspire the book’s form. Could you talk a little about how you settled on the book’s final shape? Did you draw on other influences, beyond Shōnagon, in approaching the task?

TAC: This book began as a talk that I was invited to give at a Haiku North America conference in Seattle, Washington, in 2011. It was perhaps nine pages in length and it was received very well. A second delivery came when I was a keynote speaker at a Haiku Canada conference. For this talk I had prepared some extra notes around the Toronto scene since I was speaking at Glendon College at the University of Toronto. The paper kept growing. I was living in Ottawa at the time; I facilitated a haiku group called KaDo Ottawa and we met at the Japanese Embassy for our annual spring meetings. My friendship with Mr. Toshi Yonehara increased my interest in the history of haiku, and when I moved to the west coast in 2012, I realized that I was in a great place to do more research. I was new to Victoria and wanted to meet like-minded folks, so I taught Japanese literary forms at Royal Roads University, in their adult extension program. I met many poets who wanted to learn more about haiku; soon the classes turned into social gatherings and Haiku Arbutus was born (I still facilitate this group). 

It was through Haiku Arbutus that I met Dr. Susumu Tabata, a 93 year old survivor of the internment camps of the Slocan Valley in the interior of B.C. during World War II. It was such an honour and a privilege to meet him, and soon “Sus” was a regular at our meetings. Spritely, with a great sense of humour and a twinkle in his eye, he was beloved by all of us. My essay began to take on a new direction as I researched the haiku written in these camps during this dark chapter of Canadian history. Members of the Victoria Nikkei Cultural Society were also wonderful to help out. Many gave me resources that I would have probably never found on my own. I would take out the essay from time to time and add sections about groups (like mine) that were “starting up.” Now I had over a hundred pages and I began to think about a book.

The challenge now, was my writing “styles.” When I was referencing the historical facts, I needed historical accuracy, which created a certain tone. When I was writing about groups of poets, some who were close personal friends, the tone changed again. I was very uncertain about how to continue. I actually became quite despondent around the whole project and dropped it for about two years. I simply didn’t know how to mesh everything together. The title at this time was “A History of Haiku in Canada” and it sat deep within my computer.

And then one day, I was reading Sei Shōnagon’s The Pillow Book, which is her observations of Heian court life, including essays, anecdotes, poems, opinions, interesting events at court, and her famous lists, 164 of them. Her writing was called “zuihitsu” or “assorted writing,” and I knew I had found a model. I picked up the project and began working again, and by Christmas 2019 I had the manuscript completed and submitted to Richard Olafsen at Ekstasis Editions.

Rob Taylor, The Shadow Element: An Interview with Terry Ann Carter

Rochford Street Review is a fabulous on-line journal highlighting Australian and International Literature, Art and Culture – with an emphasis on small press and grassroots cultural activities, run by the indefatigable Mark Roberts. So I’m super pleased that he has featured one of my more complex video poems accidentals (recalculated) in Issue 30 of the Review. This will be the first of five videos that will appear here.

The video was a finalist in the Carbon Culture Review 2016 Poetry Film Contest (USA); was exhibited at 17 Days (Day 9, Vol. 10) at The Bret Llewellyn Art Gallery, Alfred State College, NY (USA; August 28 – September 19, 2017) and Atrium Gallery, Western Michigan University (USA; November 6, 2017 – April 29, 2018); and screened at the 7th International Video Poetry Festival in Athens, 2018.

Ian Gibbins, accidentals (recalculated) in Rochford Street Review

– More of the magazines that I’ve subscribed to have disappeared, and I’ve not renewed subscriptions to some others (e.g Rialto, Stand) because I understand far too few of their poems – I think they’ve changed more than I have.
– My successes have been limited in number though I’m glad I got in The High Window and Fenland Journal
– I’ve written 6 poems this year. I wish their scarcity meant they were good.
– I didn’t enter any poetry competitions except for the Magma pamphlet competition.
– I’ve given up thinking I can ever get in Poetry Review, PN Review, Poetry London, etc.
– I’ve read quite a few poetry books. As usual I didn’t choose just the books I thought I’d like. I understood very little of “Wade in the water” (Tracey K Smith) and “The Prince of Wails” (Stephen Knight). I thought “Fleche” (Mary Jean Chan) was far longer than it needed to be – it would have been better as a single-topic pamphlet. I liked Happenstance pamphlets by Edwards and Buckley.
– From my (very limited) viewpoint, I feel that the poetry community is expanding in terms of styles and ethnic origins, even if the statistics don’t yet show it. There’s more fusion and vitality.
– I didn’t replace my attempts at physical networking by virtual networking. I miss the small-press book fairs.

Tim Love, Poetry in 2020

My son, a college sophomore, is a fiend for math and loves teaching it, too. Since he’s finishing the term at our dining room table, I get to eavesdrop on the tutoring he does by Zoom as well as his study groups’ conversations. Sometimes he and I break for a midday walk in the middle of it, and yesterday he reflected that when he comes to an impasse in his work, he’s more willing than his friends to just sit with the problem and wait for inspiration. He told me something like, “When I hit a wall, I’ll just sit and look at it and say, “Wall, whatcha got for me?’”

This is mostly just temperament–he and I are both stupidly resistant to asking for help, and we both enjoy puzzles. But he also said that he prefers hard math problems to easy ones because the answers to easy problems are just “coincidence,” whereas you know you’ve solved a “proofier” question because the solution comes with a deep click, a sense of rightness. I’m not sure I fully understand that, but I’ve been thinking about it as I bash my head against poem revisions, unable to decide when each ornery little piece is finished.

This hasn’t been a good workweek. My simple goal for Monday was to gather some poems to submit to the annual Poetry Society of America contests. I rarely throw in, but I thought that hey, this year I have time, right? But mostly these awards are for unpublished poems so I thought I’d finish up recent ones, pieces I haven’t sent elsewhere yet, and it’s NOT going well. I know none of us should be beating ourselves up for poor concentration right now; the soaring virus rates are horrifying and the political circus depressing. I had the added suspense this week of a couple of family members waiting for test results (everyone is negative and feeling fine). I never handle suspense well! Still, my fuzzy-headedness feels frustrating.

My son is right, though, that facing hard problems can lead to more interesting math or art–and that the way forward involves just showing up, again and again. None of these poems is easy: my tabs are open right now to pieces about giant tube worms, domestic violence, viral replication, divination…So I try to solve for x, take breaks, and circle back, hoping for flashes of intuition. History suggests that tough writing patches eventually end. I didn’t like it when my phone autocorrected “I was told” to “I am old” recently (!), but aging does bring a kind of equilibrium in knowing that time, careers, etc. aren’t just linear. They’re cyclical, too.

Lesley Wheeler, Wall, whatcha got?

Here I am, said the old man
still young, trapped between
ship and shore. I understand
that we’re always on the gangplank,
having just arrived or just heading
for departure. There’s always
someone to talk to, someone pausing
to put that suitcase down and then
rub chafed hands.

Dick Jones, Ship to Shore

It occurred to me earlier this week that I have not,  outside of a slew of dgp manuscripts this fall, been able to read a book in about a year (give or take a month ) Submissions are easier, since chapbooks are short and poetry uses a different kind of brain for me, but even that experience was more like looking for the kind of work I like to publish normally and less about immersing myself fully in the book, as one does with fiction, which is what I’ve been lacking the past 10 months or so. What I’ve been missing is that immersion in fiction I usually crave, but it takes a certain kind of headspace that the pandemic seems to have stolen (the ultimate irony is that with extra home time and everything closed you’d think it’d be the perfect time for tucking in with a book, but most nights I am much more interested in doomscrolling on my phone until I fall asleep.)  Besides,  am far too anxious and alert on public trans, where most of my novel reading gets done to read at all.  it’s a strange absence for me, and one it might have taken a couple months to notice. I thought it would come back in late summer when I went back to commuting, but it apparently did not. 

Visual art is similar, though it’s less about immersion and maybe more about creative impulses.  I’ve been thinking about the ways in which my writing brain differs from my visual brain and the key may be a certain creative flow that crisis mind doesn’t allow to happen.  Outside of a few watercolors and some things for my Patreon, and maybe the video poems, I’ve been much less inclined to pull out the markers or collage goods or even work digitally, which applies to cover designs and graphics for the library in addition to my own pursuits. This weekend, I did some postcard sized landscape paintings for my subscribers and it felt good, but it was like pulling teeth to actually get me in the right headspace. I do have a couple ideas for projects that have sprung up in the past couple of weeks, so maybe this is changing.  Maybe I need to just put the pedal to the metal and make it happen.

Back in the spring, writing, too, felt this way, but 2020 actually wound up being reasonably productive in that arena. My writing process always feel more like creating pieces of a puzzle in small bursts that add up to a whole, and it’s easy, once I have the overall vision, to create those pieces. Launching a new series is always hard, which is why it helps to have several things going at one time.  As I mentioned in an earlier post, I’m set to mostly finish up the unusual creatures revisions by the New Year, so will be moving onto something entirely new (there are a couple options, but I’ll see which one is speaking to me more in January.)  Writing sometimes feels like running laps, so digging into the routine is what gets things done, and each new lap is easier. (I say this as a person who hates to run, so maybe that’s a bad analogy.)

Kristy Bowen, creativity and pandemic brain

“All you need to do is find and follow your whimsy.”

My uncle wrote these words to me in July–continuation of a conversation about work and retirement and possibility that we’d begun the previous Thanksgiving–and they have been rattling around in my head ever since.

The notion astonished me, really, coming from him. His field was computer science. He’s a retired Naval officer, who was a private contractor for the government for years. “Whimsical” is not a word I would ever ascribe to him, nor is whimsy something I would have thought he much valued.

What does that even mean, I have wondered, to follow your whimsy?

According to Webster, a whim is “a capricious or eccentric and often sudden idea or turn of the mind.” To be whimsical is to be “lightly fanciful,” and “whimsy” is “a fanciful or fantastic device, object, or creation especially in writing or art.”

Defining by example is a great way to build conceptual understanding, and in the months since he wrote, I’ve been on the lookout for others who, perhaps, have followed or are following their whimsy. It’s amazing what you notice when you start to look for something.

Rita Ott Ramstad, What’s your whimsy?

The latest from Ottawa poet Michael Dennis and Cobourg, Ontario poet, editor, publisher, writer and bon vivant Stuart Ross is the full-length collaboration 70 Kippers: The Dagmar Poems (Cobourg ON: Proper Tales Press, 2020). The back cover offers: “Two pals. / Two very different poets. / One kitchen table. / Several bottles of wine. / 6 writing marathons over 3 years. / 122 collaborative poems. / 70 kippers. / A book of poetry. / An act of love.” Both Dennis and Ross have been writing and publishing since the late 1970s—only a few years longer than they’ve known each other—as two poets existing entirely outside of the academic system, quietly going about their work, from their respective corners of Ontario. Throughout seventy numbered poems that make up 70 Kippers: The Dagmar Poems, their shared explorations of narrative overlap and blend, and one can see elements of Dennis’ darker working-class mixed with Ross’ surrealism. For anyone aware of their individual works, it is a curious mixture, such as in the thirty-eighth poem, that reads: “In another country no one would complain / about the conditions under which dogs / dreamed like cats, saved like squirrels, / barked like llamas, under the billowing / animal cracker cloud sky. / Things couldn’t be better / or worse, he complained.” What is immediately clear is how this project is very much a conversation between friends, and the pull and push between their aesthetics, composed as a snapshot of what has been an ongoing conversation going back years. As they write in their “Authors’ Note” at the back of the collection:

These poems were written at Michael Dennis’ kitchen table on Dagmar Avenue in Vanier over six marathon writing sessions, the first on August 3, 2014, and the last on October 2, 2017. At each marathon we wrote 20 poems (well, 22 at the last session) simultaneously and collaboratively. We each began with 10 sheets of lined paper and wrote a first line on each. We shuffled the sheets and passed them across the table, where the other of us wrote a second line, shuffled the sheets, and passed them back for a third line. This process continued, and as we unilaterally declared a poem completed, either by adding a final line or seeming our collaborator’s line the ending, we placed that poem on the floor under the table. We did not discuss the poems as we wrote, though we often laughed and cursed each other. Each writing session began around eight in the evening and lasted three hours and 15 minutes. Wine was consumed, always red. Once the last poem met the heap under the table, we retrieved the batch, straightened out the stack, and read them all aloud. In late 2018 and early 2019, we whittled the selection down to 70 kippers—I mean, keepers—and did some editing, which occasionally skewed the alternating-line sequence when a line or several lines were excised. Sixteen of those poems, in slightly different versions, appeared as the chapbook The Dagmar Poems, from Burnt Wine Press. we only had one fight in the process. It’s long behind us.

Dennis’ most recent full-length collection is Low Centre of Gravity (Vancouver BC: Anvil Press, 2020) [see my review of such here], a collection of first person lyric narratives following on the heels of his Bad Engine: New & Selected Poems (Anvil Press, 2017) [see my review of such here], both of which were edited by Ross. Ross’ latest full-length title is the poetry collection Motel of the Opposable Thumbs (Vancouver BC: Anvil Press, 2019) [see my review of such here], his eleventh full-length poetry title to date. One should note that the poems that make up 70 Kippers: The Dagmar Poems aren’t the first collaborations by either poet, as Ross has been working collaboratively for years, back to The Pig Sleeps (Contra Mundo Books, 1991), written with Vancouver poet Mark Laba, and his collaborative novel with Gary Barwin, The Mud Game (Toronto ON: The Mercury Press, 1995). Ross even published a collection of short poem collaborations he wrote with twenty-nine different collaborators in In Our Days in Vaudeville(Toronto ON: Mansfield Press, 2013) [see my review of such here]. The collection included five poems that Ross composed with Michael Dennis. Composed roughly a decade prior to the earliest poems in 70 Kippers: The Dagmar Poems, the poems in In Our Days in Vaudeville are different in tone, and more separate, as though each were still feeling out the other’s voice and cadence, feeling their ways into and through each poem.

rob mclennan, Michael Dennis and Stuart Ross, 70 Kippers: The Dagmar Poems

My poetry books of the year will lodge in my head. Every now and then, I’ll experience something that reminds me of one of their lines or poems, and I’ll reach for them, and then I’ll linger, and the book in question will lead a second life beyond the shelves in my study, being tasted every few days for a couple of months before returning to those shelves. And then the cycle will begin again.

What’s more, I won’t yet have read several of my poetry books of the year, as they’ll be slow-burners that a trusted friend will recommend or I’ll encounter on the shelves of a second hand bookshop, flick through a few pages and reach for my wallet.

And then there are my other poetry books of the year, the ones I thought weren’t much cop when I read them in 2020, but which will reach out and hit me/hug me/renew me if I’m lucky enough to be around in 2030.

These are my poetry books of the year. Sorry if yours isn’t on the list.

Matthew Stewart, My poetry books of the year

The poem is
more than the words

can mean. Is there
anyone who

can do this math?

Tom Montag, THE POEM IS

I know we are all saying “get out and good riddance” to 2020, I try to remember the good things that came from this year, too. I spent a lot of this year sick (not with covid, just other weird stuff) so I became acquainted with weighted blankets, the Queen’s Gambit and the Mandalorian, I started a novel (still not very far,) applied for jobs in poetry publishing, and applied for grants I normally would avoid. (I even got two small grants this year, which seems miraculous.) I did a lot of bird watching. I got published in a few “dream” journals, including Poetry and Ploughshares. I tried to find as many inspiring things close to home as possible, since we couldn’t travel or do our usual about-town entertainments.

Jeannine Hall Gailey, Merry Solstice/Christmas Week to All, and to All…A Good Riddance to 2020, plus Setting Intentions for 2021

It’s official! I am On Vacation, my chickadees, and not a minute too soon after the hellacious work year I’ve had. Due to my prevaricating, it almost didn’t happen. I had vague plans to “take some time off around Christmas”, but with everything going on and being the sole person overseeing our screening checkpoints, planning for my departure felt completely overwhelming so I kept putting it off. My boss casually said to me last week, “You’re out here after Friday, right?” to which I responded with a panicked, deer-in-the-headlights stare and stammered that I hadn’t done any planning for taking time away and that I “couldn’t just leave.” She wasn’t having any of my baloney. She found some people to take over the checkpoint duties and I spent the afternoon in a whirlwind of Out of Office messages, door signage, e-mail wrapping-up and preemptive plant-watering. Then I locked my office door and left the building, triumphant and exhausted. I’m not going back until January. It’s been almost two years since I’ve taken any significant time off, and I had no idea how tired I’ve become. I would love to say that I learned and grew from my experiences and blah, blah, blah but I think mostly what I did was just survive and develop a stress-related disorder as a fun bonus. I need this time. I can feel my whole body needing it, not to mention my brain and my soul.

Kristen Mchenry, Vacation All I Ever Wanted, I’m Worried about Katie and Peter

Every year I hold this thought that I will really relish Christmas. I will make things with my hands, invest in the act of creating and giving as a token of interpersonal gratitude. Instead, I rush things between grading exams and making dinner, and I curse and resent the entire season. I resent the fact that last year’s handmade candies are still in a jar on the shelf in my colleague’s office, unopened – and likely brewing something far less helpful than penicillin.

I think about all the almond flour and lemon that wedged painfully under my fingernails while I rolled the candies into small coconut-flour-dusted shapes. (What a frightening thought now, in these Covid times).

Yeah.

This year I’m making candles. I expect hot soy wax will bring with it a share of painful moments. But I’m hoping the scent of cloves and orange will help me focus on a brighter mood.

Essence of orange tends to stick around. There’s nothing smooth about it. Like a burr or a bit of Velcro, it snags and insists on attention. Like a toddler tugging at a shirttail, demanding to be lifted up onto a hipbone and carried through the day, pointing and clapping at everything that sparks a little bit of joy. Clove? That’s the old woman doing the carrying, paying attention, smiling warmly: saying put down the red pen and the grading, and come here and just sit a while.

Ren Powell, Essence of Clementine

As this strange year draws to an end (although, the end still feels like a long way off to me), I’m pleased to tell you that I have a few pieces of new writing in circulation. I’ve been writing poems for about ten years now, after a period of not writing at all while my children were growing up, and, before that, writing prose and play scripts. When my full collection of poetry was published in 2018, there were poems flying free that I couldn’t quite tie down in time to include in my book, and others that were no more than a tiny speck of an idea. Gradually, in the past two years, some of these poems have landed firmly and taken shape across pages of my notebook.

One big change in my life in the past three years has been my two children leaving home to go to university, and, this year, one of them leaving home to start their working life. This has coincided with my increased awareness of the precariousness of our planet. A new poem, ‘Then, said I, Lord how long?’, merges my feelings of loss incurred by the climate emergency with my experience of the “empty nest”, and is published in the Winter 2020 issue of Poetry Wales. Another poem about children growing up, ‘Parenting Book’, will be online at Ink, Sweat and Tears on December 29 – part of their yearly Twelve Days of Christmas series.

Another new poem of mine, ‘Poem for a 1960s Welfare State Childhood’, is online at the Morning Star. This is a poem about my own childhood, rather than about my children, and was prompted by my thoughts about the dismantling of the benefits systems by successive Tory administrations since 2010, and how insecure housing, and insecure household income, impacts on children. I know my own childhood would have been very different if my family hadn’t been protected by the welfare state.

Josephine Corcoran, A few new pieces of writing

I have this notion that the sky sees us as its own sky.

Sometimes it views us as storm-sullen with our riots and hate-mongering.

Other times, we appear sunshiny with our lovehoney buzz and thousand-watt optimism.

Sometimes the sky sees us as different cloud patterns: artists, stratocumulus; nihilists, nimbostratus; children, cumulus; the elderly, cirrostratus.

The sky views our city traffic as shifting cloud patterns containing different images—castle, dragon, dandelion;

it all depends upon the hour of day and which way the wind blows.

I hear that on certain occasions, you can marvel at the bright blue above and witness it admiring you.

Imagine that, seeing each other as one another’s beautiful dreaming sky.

Rich Ferguson, Mirror Me, Mirror You

newness alone must not be called poetry;
if anyone at all calls!
it might be orphaned at birth and misplaced.
their minds might be event horizons,
might deny the parallel word of verse,
might insist that the mirror reflects what isn’t there.
that a poem’s virgin birth upon the detonation of the old
will be an alien civilisation with a sixth sense called nonsense.
the bricked windows will be doubly dumb.
the voice in the wilderness will be just that;
a wildness beyond understanding.

Jim Young, poor try

it took me a long time to understand 
my true purpose 
I’m here to grieve 
and goddamn I am so very good at it

James Lee Jobe, blessing the word with smallness

Solstice, winter, covid: we are close to the dark.   Those winter days that swing between flat gray and blindingly bright gray work a subtle palette. 

During insomniac nights — at 3am, at 4am — I am close to the darkness too.  As I lay awake, I go deep into it. I riff:
Darkness, my compatriot, my friend, my pain,
my swan dive, tail in the air, everything inverted.
My color palette, everything contained. 
Darkness, all swirling imagination, all nourishment, all foundation.
All restart, light, recognition of what is outside me, 
of darkness inside me that leads to the beyond.

Everyone is talking loosely, wildly, glibly of light, something we lack and thus want desperately to lure.   The electrified trees, the candles that never drip though they burn in every window every night, the bright rafters — all speak to a desire to light up in “unprecedented” fashion.  These are rituals of continuity, myths of faith that lay the way to see in darkness — considered “old-fashioned,” they are back with a bang.  As if we thought they could be replaced with bulbs!

Jill Pearlman, Solstice, burning bright

each day slips away 

fish in deep water

Sharon Brogan, Snapshot Poem 16 December 2020

Poetry Blog Digest 2020, Week 50

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 found poets looking forward and back, celebrating and mourning, reading, reflecting, raging and reminiscing. Some exciting new publications make an appearance. The solstice approaches.


For over a decade now the Christmas season has been marked for me by a party a friend and her partner host this time of year. It isn’t your typical holiday gathering of interlocked friends: there is a brilliance to their tradition of inviting a core group of weak ties, and each year a few new faces. It’s positively “urban” in its inclusiveness. And as someone who borders on recluse, I find it relaxing.

The food follows in a similar vein: familiar (though hardly “traditional”) dishes and deliberately introduced new recipes. Near the end of the evening every year, M. plays the lacquered white piano and we sing carols.

These parties may be the only parties I have ever attended without feeling a pressure to secure my belonging, or wriggle into tightly-knit cliques by way of an interesting anecdote, or tactical compliment/question. I still don’t know how to do that, and am comfortably past trying, actually.

But this year there’ll be no seasonal gathering around dinner table and the piano. I feel the loss, and am trying to re-frame the fact. I am pulling back to identify the loss, and to appreciate exactly what was so very pleasant.

We aren’t supposed to cling to the pleasant, but I don’t think that precludes seeking to experience it. And maybe for the first time I am observing my passive social life, not in terms of an area for self-improvement, but as a potential for creativity.

I suppose in the self-help jargon the word is “agency”, but oh what connotations come with that: productiveness and goals. Not for me.

When the world pulls apart as it has, I am noticing the spaces between. The loose ties, the fluidity of interactions. My perspective has shifted.

Loosening the weave
potential in every thread
ever-new garments

Ren Powell, Perspective in the Time of Covid

How to make something true? How to slow down that endless flow that we find ourselves participating in, the big scroll….? I keep returning to the line by C.D. Wright on trees, when she says, “The trees true me.” What is it that trues me? What trues you? How to make things that ring true as trees?

Shawna Lemay, Dwelling on Images

It was the persimmons clinging to the leafless branches of a modest sized tree that first made me fall in love with this house. Now, 23 years later, I’m still no closer to getting used to their exuberant abundance.

early sunset
a flock of crows winging homeward

Dylan Tweney [untitled photo post]

People used to ask “what’s new?” or “how’s work?” or “what’s the family up to?” but this year’s standard inquiry seems to be “how are you holding up?”

I don’t know about you, but the holding and the up both are pretty tenuous. Every day seems to pose a more serious threat to democracy, the environment, to justice. This week we are breaking records for Covid-19 hospitalizations and deaths, with experts warning of a “dire winter.” I know people who are currently suffering with Covid-19. I know people who have died. I also know people who say concern over the virus is “overblown” and continue to go to the gym and to large gatherings although we’ve now hit daily death tolls exceeding those on 9/11.

Sometimes it feels like I’m polishing every splinter of hope I can find. But when I pay closer attention to what’s holding me up, I find a vast scaffolding. Here are a few rungs on this month’s ladder.

An ash tree in our yard continues to thrive despite invasive ash borers. I greet this tree every time I walk past. Like the sycamore, dogwood, hawthorn, and maple trees around our house I consider this tree a friend. It’s the first tree I see when I look out our back windows, its branches almost always full of twittering birds. I know ash trees are in serious decline. Millions of U.S. ash trees have already died due to the invasive ash borer, including hundreds of trees in the woodland part of our property. But some trees continue to thrive. They’re called “lingering ash.” Somehow these trees, untreated by insecticides, carry on. Their genes seem to resist predation. Science hopes resistant ash can perpetuate the species. This tree’s resistance to annihilation can’t help but inspire me. Let’s hope we can be the lingering best versions of our own species.

Laura Grace Weldon, Holding Up

who are you digging for          sweetheart?
              what scrap
                                      of your life
have you stashed
                            in the ground?           whose
              memories
                                      have replenished
the soil?             how I wish
              it were mine                this
                                      single-minded
joy
              for digging

Romana Iorga, exhumation

The cute Anne Taylor pink coat, waist-tailored with the velvet collar, and matching lipstick behind the mask, because this time, I am not sick, see? Hi, I’m still alive, hospital where I have been so many times in the last eight months, from first wave panic of not enough PPE to now second, or third: ain’t dead yet, say the rose quartz earrings, matching coat, and devotional mouth;

valiant front, isn’t it, all this, until the lady at check in says, at the end of the usual exchange, rote for all of us now, all of us who know it, anyway, who have had to, “…oh, and we call Michael, right, if anything happens?” and the blade of foot kicks me in the stomach, and even strong as this core has become I can see my own soul shoot out backwards from my body, hit the wall behind me, crumple to the floor,

still, I say calmly, politely, “No, absolutely not, please remove him from my file,” and I look away, because if she looks at me I will cry, and in peripheral vision I see her note the brittle ice shatter sound at the edges of my voice and she hits delete, and asks “Do you want to add someone else honey,” and I answer “No thank you not at this time,” and it’s sort of amazing that I haven’t been to the hospital in that long for once, and still I wonder how many more ambushes with this there will be,

and then the rest of my energy, the entirety of my physical being is occupied, waiting, dodging (the shakes) (the needy invasive chatty creeps) (the screaming snot-flinging children) (the waiting room chairs marked for distancing) (the pain) (god damn this pain) (you stupid, stupid bastard what you have wasted how dare you be so stupid at such cost how could you my god look at all you have destroyed for us both)

JJS, labs

you listen to the Blues
straight-up, all-American
lugging lowdown bad news
you moan and groan

knowing reality is your dance partner
not asking who leads 

you begin to play with woe
compete, restate, elaborate,
find the slinky horn, mockery, 
human pulse in the drum beat

tragedy to be stuck in a single mode

and joy is improvisational — all elegance,
meditation, intentional 

Jill Pearlman, Red, White and Blues

No one went anywhere very much
anymore. Parked cars sat
idle on each street. All summer,
windshields gathered fallen
crepe myrtles. In fall, a thick
sifting of dry pine needles.
In kitchen drawers we found
soup spoons that needed
polishing, a blue-green
teapot that was a gift
years ago; a pair of glass
candlesticks, handpainted,
never used. As if it were
Christmas, we took them out
and marveled; finally
we lay them on the table,
poured tea, lit tapers.
We wouldn’t run out of books
yet, though as the year
dwindled down, there wasn’t
much light to read by.

Luisa A. Igloria, The Aftertime

A dear friend still wants me to tell her the time I was born so that she can do my reading. I hate to avoid the question, but I avoid all things hocus-pocus. This is weird for a life-long relatively devout Catholic to say, I know. Hocus-pocus is essential to our storytelling. At the same time, the Christmas season is approaching and I’m feeling like a doubter more than ever before. My husband’s journey through diagnosis to first treatment took up our last 8 weeks and involved planning for the worst-case-scenario and many days and weeks of waiting for pictures of treatment and possible outcomes. It was heart-wrenching and the planning for the end made the end seem inevitable. I wrote some poems.

I shared our story with few at first, making the circle larger as we learned more and could answer difficult questions about the prognosis. We received an overwhelming outpouring of support in the form of thoughts and prayers and anything to be done. I wrote some poems.

I started to think about the prayers. In the first round of letting our closest family and friends know that it was something and something bad, they prayed. I wondered what the prayers would do to the blood already sampled and the tests already running and the analysis about to be completed. I don’t believe God works that way, in any form of the Trinity. This repeated in the second and third rounds of testing. Nothing was going to do magic on what already was set in motion. They prayed for our strength. I wrote some poems.

Okay, I said, I can use some strength. I was waffling among ledges of anger and fear and grief, each adjusting higher and lower from moment to moment like a scissor-lift. I was driving my lovely family crazy, while they remained steadfast. The prayers were working on them. I wrote some poems especially now that we had entered Advent and a friend challenged me to write one a day. I signed up for a prompt-a-day-Advent-calendar and wrote to that. (www.twosylviaspress.com)

Then, all-of-a-sudden, things started lining up. All the bad luck seemed to reverse: of course, we are lucky to have a hematologist/oncologist in the family treating my husband; he is fair enough to give us the honest frightful truth; and kind enough to look for the next-best-option to prolong my husband’s life; he found it just two days before my husband would start therapy; and the numbers look good and we couldn’t be more relieved; and the planning for future inevitabilities is done for whenever we will need it. I wrote some poems.

Tonight, celebrating our luck and practicing gratitude and praying those thanks, I wonder: are we lucky to be in this situation, fortunate to have found the problem at this time, happy to be young(ish) and healthy, blessed to be in this particular family, and/or unlucky to have this cancer at all? I have some poems to write.

Thanks for the thoughts and prayers. They help.

Cathy Wittmeyer, Poetry & Timing & Luck & Stars & Gratitude

spent much of this afternoon walking in the rain – trying to accept the weather, rather than rail against it! In fact, I’ve been trying to accept quite a few things that don’t sit well with me lately, attempting not to let the relentlessly bleak news get in the way of poetry, and life. Easier said than done.

The haiku above doesn’t please me as much as it should – the pun on ‘greens’ seems a bit slight, and I also have a vague feeling that I’ve read a similar poem elsewhere, although I can’t remember where. If so, many apologies to the writer. Haiku may be short, but they’re of infinite variety, so there’s no excuse for not being original. However, sometimes lines come to me and I’m really not sure if I’ve invented them, or whether they seeped into my brain after reading something. And what I’ve been reading over the last couple of weeks is Presence magazine, trying to whittle down a list of favourite poems so I can cast my vote in the ‘best of issue’ award. I really like the idea of a reader’s vote. It means I read the poems a whole lot closer and in doing so, new meanings and resonances surface. So, more reading this week, and hopefully a bit of editing so I can send a few haiku out over the Christmas break. In between, there’s cards to write, presents to wrap, the post office queue to join … Oh well, at least the rain seems to have eased!

Julie Mellor, rain-washed fields

early twilight
snow enters a barn
on the backs of cows


This haiku by the great American haiku poet, Christopher Herold, was the winning poem for ‘December’ in the Snapshot Press Haiku Calendar competition 2019. It was a very worthy winner.

The first line enables the reader to see that beautiful, colourful light at the start of the ‘magic hour’. The mention of the word ‘snow’ in conjunction with ‘twilight’ naturally makes the reader feel the coldness. But, above all, how brilliantly the poem captures a momentary movement in time by attributing the verb not directly to the cows but to the snow, and does so by putting the focus so specifically onto the backs of the cows. There isn’t a need for high-register language. It’s a timeless winterscape, perfectly rendered, like a painting by Brueghel the Elder.

The 2021 Haiku Calendar is available for order now and is unmissable.

Matthew Paul, On a haiku by Christopher Herold

From deepest Somerset, Krakow, Edinburgh, and Wem they logged in to wish the book well on its journey into the world, and what is more, they brought their own drinks. I told you they were a generous crowd. For Penny in Western Australia, it was 4.30 am the next day. My editor Ross Donlon (Mark Time Books) was even further ahead — 7.30 am in Castlemaine, Victoria. This skillful display of time and distance travel was all part of the ride.

Although moving from the digital (this blog) to the page (that book) may seem counter-cultural, for me it’s been necessary at a time when so much of my time is spent staring at a screen a couple of feet away from my varifocals. The book weighs in at 210g. I know this because I’ve weighed it (plus packaging) in order to post it out to readers. 

If you would like to buy a copy of your very own, they cost £10 each including second class UK postage. If you want to get a first class postal service, add 50 pence. Email me at liz.lefroy@btinternet.com to let me know your requirements. If it’s a gift, I can giftwrap and add a card for another £1 and post it straight to the recipient. If you live outside the UK, I can work out the postage rates. 

You can also find I Buy A New Washer (and Other Moderate Acts of Independence) in the Poetry Pharmacy in Bishops Castle, and Pengwern Books, Shrewsbury. And there is a lending copy at Shrewsbury Library, (although the librarian I’ve been dealing with has taken it home for the weekend, so you may have to wait your turn). I will sort out a wider means of distribution in the new year. 

I’m deeply grateful to those who suggested this project to me, in particular Ross Donlon and Anna Dreda. I am so grateful to you, my readers. Some of you — Peter, Kev, Anna, Graham, Helen, Morar, Mike (and it turns out, Zoe!) — have been reading diligently for years. 

When I started this blog in 2014, I thought it would be a playground in which I could practise my poetry writing skills. What I’ve discovered is that playfulness / mucking about / having fun / being spontaneous (and moderately independent) suits me. 

Liz Lefroy, I Commit To Paper

Sent From Elsewhere is a major collaboration with Swedish/French musician/ artist Frédéric Iriarte that we have been working on for most of 2020. When we started this, we decided to make tracks that sounded different from anything we’d do by ourselves. So here are complex improvisations, radical remixes, and strange texts, using vocal effects that I’d been thinking about for ages… We are both very happy with the result!!

The album consists of 9 tracks, featuring Frédéric on guitars, basses, saxophones, keyboard, piano, flute, Jew’s harp, harmonica, vibraphone, FX and percussion. I did the vocal performances, played a few bits, and put the lot together in sometimes major remixes. [Listen on Bandcamp]

Ian Gibbins, Sent From Elsewhere: poetry and music with Frédéric Iriarte now out on Bandcamp

[Rob Taylor:] Speaking of points of connection, a number of the poems in Mythical Man involve, or take place on, dating apps (two of the poems in Mythical Man contain quotes from Grindr). Did it feel at all strange or anachronistic to write about a digital space in a print book? Does writing in a more “traditional” way about a very modern form of communication allow you a different perspective on it? Do I sound one-hundred years old for even wondering over these questions?

[David Ly:] You only sound roughly 78 for even wondering over these questions. It definitely did not feel anachronistic to write about digital spaces in a print book because I write from my experiences and being who I am, the digital space(s) where I exist are just an integral part of my existence whether I like it or not, but I also am very much a print book reader. So putting the two together wasn’t strange at all. I do feel it strange that people find it a talking point that my poems are drawn from things like dating apps and other digital things. It’s just the world I/we exist in! So it feels right and comfortable to write about them in my poems. 

I don’t know if writing about modern forms of communication in a more “traditional” way gives me a different perspective on it. If anything, writing poetry about digital spaces and how we exist in them makes me slow my thinking down more and reflect more on how I (and others) exist in places like Twitter, Instagram, Grindr, etc. And I think that slow-thinking about this allows me to write sharper poems.

Rob Taylor, Old Stories Made New: An Interview with David Ly

Being on sabbatical puts a insulating layer between me and the academic seasons, but I can still sense the weather shifting via publication cycles. Even for magazines and presses without university affiliations, there are year-in-review lists and columns: Aqueduct Press just published one of mine, and I’ve just submitted another to Strange Horizons for early January publication. I’ve been reading proofs for December issues. Rejections are souring my inbox. I also received three delicious acceptances from magazines I’ve never cracked: I’ll have poems in Smartish Pace and Kenyon Review Online next year, plus an essay that’s central to my forthcoming book, Poetry’s Possible Worlds, will be in American Poetry Review. I’m freaked out, sad, tired, and feeling like a shut-in, yet that is some serious holiday cheer.

I’m rarely in a good mood, honestly, when I’m processing publication’s endless clerical business, even the wins. Being immersed in writing and reading feels better. Yet there are payoffs. A big one today is getting to celebrate the just-published issue of Shenandoah. I’ve been proofing the fiction, nonfiction, comics, and translations sections, which I otherwise have almost nothing to do with, although I love what the other editors have selected. The poetry section, though, is full of my babies. I recruited a few of the authors; most are people whose work I didn’t know before last year, when I sifted their beautiful poems out of the hundreds and hundreds submitted during our brief reading period. I can’t play favorites, loving them all equally, but here’s a tasting menu, each chosen because it will make you feel replete:

Samyak Shertok, “The Last Beekeeper”

Stephanie Rogers, “Fat Girl LaCharta”

Diane Seuss, “[To say that I’m a witch makes me feel better all-around]”

Ashley M. Jones, “I Find the Earring That Broke Lose From My Ear the Night a White Woman Told Me the World Would Always Save Her”

Emily Franklin, “Tell Me How You Got Here”

There’s a wide range of other feelings and experiences represented in this suite of poems, but for now: honey, rhubarb, persimmons.

Lesley Wheeler, What’s cooking and what’s already on the table

Later in the week the publishing gods kept on giving, as the Winter issue of The High Window was published, featuring two poems of mine: ‘Selling The Trampoline’, and ‘A Short Survey’. I’m still working my way through it at present, but there are some wonderful poets surrounding me. Simon Richey is one – I have his collection ‘Naming The Tree’ on my shelves, and there’s a poem of his that caused me to buy it. I wish I could remember what it was, but I loved it and it wasn’t in the book, so I hope he gets a new collection out so I can hopefully be reminded.

Both of the poems of mine are ones I really like, Trampoline feels like more of a summer poem to me, but A Short Survey is one I wanted to get right, somehow combining the day job with my writing. I think it’s a vein to explore further, but I’m not going to force it. Both these poems took several drafts and rethinkings to get to this stage.

As ever, come for my poems and stay for the others.

The final gift from the poetry gods this week has been what I think is the fastest ever move from a first draft to final draft to acceptance. I finished the second draft of a poem last week, and after running it by a voice I trust, I sent it off yesterday for consideration towards a chapbook/anthology. I woke up to the acceptance email this morning. While the idea for the poem came in the middle of this summer, I didn’t write anything until two weeks ago, so that’s positively sprinter-level stuff for me.

Mat Riches, It’s (almost) the End of the (working)Year (as I know it) and I feel finest

I’m fascinated by the third issue of the Hazelton, British Columbia journal Partial Zine (described as “an offline journal of poetry, notebooks, and emails”), the first issue I’ve seen, produced by Adam Katz (formerly of Toronto; formerly of Buffalo) and Vera Maurina Press. This issue includes an array of some fascinating visual and text work by a range of poets, with only half the names I’m familiar with: Andy Gricevich, Raymond de Borja, reck bell, Ellen Dillon, Chris Macalino, Pansy Wright-Simms, Jordan Abel, Robert Jackson, Sila Katz-Kuperman, Woogee Bae, Ava Hofmann, Kristian Enright, Dennis Teichman, Ted Byrne and Michael Simard. There is something really vibrant, nearly explosive, in the works collected here. The issue opens with nearly a dozen pages by American poet Andy Gricevich (does anyone remember the publications he used to produce as CANNOT EXIST?), an array of il/legibilities he describes in a brief afterword: “Later I started to think of them as ‘songs’ (at least sometimes), where greater legibility=’lyrics’ over the ‘background music’ or harmonies of the other marks. // Still later I started thinking a lot (and still haven’t really followed this out consciously) of illegibility as a sociopolitical issue—rendering ourselves unreadable to state, medical, corporate, social media and technocratic attempts to comprehend and anticipate our desires and needs.” Between dense visuals of collaged images set upon a background of crinkled grey, set as a field of tricks with light, Raymond de Borja includes the short piece “The Given is What Accident Refracts to a Gift,” that reads: “Set where various cities touch without tremor—the timbre of a tear—offered—in the fabric of—to a listening where—when straining for—there—when towards—disambiguation—an attentive ear—understands—that it cannot understand—the impulse towards—what we feel we mean—when saying here.” As part of Woogee Bae’s addendum to her own handwritten piece reads:

the idea circulating in my head kind of frustrated me as I put it to paper, so that’s not what this is.
a rough breakdown of the word “mung” (like mung beans).
my current obsession.
several definitions, different uses of the word throughout history
data manipulation
ruins
here

There is such a wealth of work here, from handwritten to straight text, from visual collage to designed and modified text, all in their own way utilizing the page as field and the text as building-block (the only structures missing might be the physical, modified text itself, a la Kate Siklosi, Gary Barwin, Amanda Earland Derek Beaulieu, etcetera). This is clearly a journal worth paying attention to. To order copies, check out the link here; to submit (“Special consideration will be given to submissions to Partial Zine 4 that are in some way based on pieces in Partial Zine 3”) email: adam.robert.katz (at) gmail.com

rob mclennan, Partial Zine 3 :

Is 2020 a lost year? I’ve seen this mournful term on several occasions recently in the media and even being invoked by poets. However, I’m convinced it’s a misnomer and can only lead us down a dead end.

Of course, my above comment isn’t intended to trivialise the fact that countless people have lost everything in 2020, while it’s also clear we’ve all missed out on experiences this year. Nevertheless, one of the things that poetry teaches us is that time is never lost or wasted. 

Fallow periods in our poetry lives are necessary. Through our writing, we soon learn that the genre doesn’t require or even benefit from our spending eight hours a day sitting at a desk. In fact, it encourages us to live and let ideas percolate through our subconscious in the meantime.

Beyond our writing, it’s worth adopting a similar approach to our days, using the patience that poetry given us. As a consequence of having pressed the pause button these past few months, certain projects will have lost significance. Others, on the other hand, will have unexpectedly become crucial. Our priorities will have shifted and we’ll be in a better position to face the rest of our lives. In other words, however we view it, 2020 is in no shape or form a lost year.

Matthew Stewart, A lost year…?

Last week as I was going over proofs, I was thinking about work and progression and how well some things come or hang together.  Much of feed was written in 2018 as a kind of therapy, though the title and my notes for the hunger palace, or parts of it, existed earlier, though it took Christmas break that year to come together.  2018 was a productive year in general, that writing out of grief, so of course, those projects would wind up speaking to each other.  I had just come off writing the love poems from sex & violence, and that book was coming together in November 2017 , so I was ready to dive in on something new anyway.   Since daily writing was happening much of the year, there was a lot of other projects mixed in as well, other manuscripts that were started.  Some are finished mostly (dark country & animal vegetable monster).  Others, not so much (automagic).  Either way, it’s just a lot of output, some of it still living in a weird formless stack of random poems.  While 2019 was slightly less so, amazingly 2020 has been a productive year, though it has felt like pulling teeth sometimes.  While I can’t say I’ve had the focus for actually reading or making much art, I’ve been writing, which may be the only thing saving my mental state. As such, I find I have almost the whole of an entirely new manuscript (collapsologies). I look at the poems in one slant of light and hate them, but in another, they feel like the most interesting, important thing s I’ve written.  It goes back and forth.  

I also feel like different projects speak to different poetry concerns.  feed is far more personal, while something like animal, vegetable, monster and collapsologies are more externally oriented. I sometimes feel like each new thing brings out a different poet in me, but at her core, she is still the same. Every once a while, I bring out old poems in the files I keep in the bureau next to my desk for a giggle at how awful they really were, but how i took them so seriously. If I say my real pursuit of writing (anything decent anyway) began in  1998, it’s been over 20 years at all this.  If I start at the very beginning, freshman year of high school, it’s been far longer. 

Kristy Bowen, book notes

Unusually for me, I find myself 8 handwritten pages into…well, what it is I can’t yet say, but I’ll loosely term it at this point an essay. I decided to start with a geographic point and then try to get myself to spin out from there, writing in whatever direction consciousness, or subconsciousness, or unconsciousness took me. I’m bemused at this, and am trying to still the anxiety I always feel to conclude a piece of writing, to tie it off, like a scarf from a knitting needle.

The urge to end is, well, urgent. What more could I have to say? How will I ever make all this work together? I’m trying just to keep knitting. What if it never ends? Well, won’t that be something?

Marilyn McCabe, I wish I had a river; or, On Letting Writing Flow

one foot after the other foot after the other on
the steel-frosted sleepers parsing dawn’s progress
to the vale works smoking sedately in the distance
on a sunday morning after a statuary night out with the boys
so cold and overhung in step after step into the warm
innards of the work’s entrails of hot pipes and
furnaces and catalytic converters
vanadium pentoxide tasting of stale beer to
my bleary mind’s eye rehydrated by canteen tea
and a corned beef sarni half now half later

Jim Young, on route to the swansea vale on a sunday morning

There’ve been times I drank so much I drowned in the hundred-proof truth of sorrows and joys.

If you’re quiet enough, you can hear the calendar disintegrate, build itself up from dust, then count backward from your last brightest moment.

In the dive bar of memories, toppling off the barstool can make falling feel like flying in the body of a beautiful bird circling a cemetery where blue is the color of love-cried eyes.

No need to fear the shadows lurking in the darker corners of these days.

They, too, carry miracles in their pockets.

That and enough quarters to play your favorite jukebox songs until the full moon comes home.

Rich Ferguson, In the Dive Bar of Memories

The fat candle fizzled out in the hot wax just as the fresh sunrise began to color the morning sky. Timing is an interesting thing, isn’t it? The length of a coincidence. How does one measure things that are random?  Look, jobe, you old white-beard, all night you sat in that chair and now it is time to get up and greet yet another day of living. What time is it? The same time as always; now.

James Lee Jobe, hot water in a tub never felt better

There is no wisdom
in the grey silence.

Fifty-one years
we’ve been married,

wondering Are we
good for another one?

The sun will break through.
The moon this evening.

We know what we have
We have what we want.

Tom Montag, ANNIVERSARY

I’m still in a writer’s block, hemmed in by depression.  I feel that I have nothing left to say, and yet I have very much left to say.

I am so worried about our country. Trump has done serious damage in so many ways, and I will not live long enough to see it repaired.  

I don’t expect to live past 85; that’s just 13 more years.  Both of my parents lived into their 90’s but with terrible diminishment which began in their early 80’s.  I don’t want to live that long.

As of today, we have a vaccine for COVID 19 which is beginning distribution.  So I hope that by the summer, I will be able to visit my friends and go to Cape May again.

In the meantime,  I look forward to teaching Modernity in Literature again, starting in late January.

In the meantime, I look at the growing dark, waiting for the Solstice.

Anne Higgins, In the last week before the Solstice, in the forty-first week of the Quarantine

I think about giving up on my dream of being a writer, sometimes, honestly. This year especially. I was good at my job as a tech writing manager, I liked advertising writing and working in publishing as an acquisitions editor for technical books. I liked getting a steady paycheck and the nice feeling of people praising you for a job well done – very absent in the poetry world, you may notice, except for a chosen few. I liked feeling useful instead of useless. When I was healthier and younger, I spent almost as much time volunteering as I did working – and I was sort of a workaholic. I miss being able to “do things” for people, physically, that I used to be able to do. I resent my disability, honestly, my immune system’s weakness and the symptoms of MS – vertigo, nausea, muscle weakness at odd times – and the feeling of a shrinking life those things can bring. I love my husband, who has always been very supportive of my writing career, and I’m happy he’s embarking on his own adventure, getting his first Master’s Degree, but I wonder: what’s next for me?

Jeannine Hall Gailey, Discouragement During the Holidays, 2020 Edition

Once I compared daily prayer
to a chat window open with God
all the time. That was before.
Now the chat windows where I text,
the Zoom windows where we meet,
are as fervent as prayer:

the only way we can be together
anymore. The digital windows open
between my home (my heart) and yours —
they’re what link us, together apart
like lovers with hands pressed
to far sides of thick glass.

Rachel Barenblat, Windows

I wrote the first draft of this post in a way I rarely write anymore: On paper, with a pen. When I began writing, as a girl, that was the way of all first drafts; through my childhood and teen years I had a large, hard, permanently red bump on the first knuckle of the finger my pen pressed against; a remnant of it remains, a permanent disfigurement that is evidence of something I’ve always been compelled to do.

I picked up a pen because I was on a third day of avoiding screens, a third day of trying to muddle through work with a multiple-day migraine. In my migraine, there are various factors always at play: work, screens, stress, meds, sleep, rest, hydration, exercise, food. Trying to figure out exactly how to put these together is like trying to solve a Sudoku puzzle. Maybe I can get one line to work, but I can never get the whole box to add up correctly. If I take off work to avoid screens, I increase stress from falling further behind. If I exercise when fatigued, I can trigger an episode, but if I don’t exercise I don’t sleep well, which can also trigger an episode. If I spend Sunday in food prep for the week I know I will eat well on work days, but I might end Sunday fatigued rather than rested, and stressed about other things I didn’t get to do.

Rita Ott Ramstad, Begin again

Today I pause from giving you updates from grief’s front line and take a leaf from the blogs of Karen Walrond and Simon Parke.

From Karen I borrow her line of hope and choose to say into the darkness ‘This was a good week’ and from Simon I am reminded to practice gratitude, even if I can muster it only for my kettle.

For Peter, who sent me links to two beautiful poems, one by Clive Wilmer, the other by John Freeman.

For my friend Martin, who rings to say hi.

For Greg, who texts the same.

For my activist friend Roger quoting Ghandi and Dr Martin Luther King Jr on an Advent WhatsApp group.

For my theologian friend Luke reminding me that the world is dark, but that the light always wins.

For my friend Cock.

For the lifesaving blog of Shawna Lemay, whose posts always leave me feeling more human, less alone and a little more sane. Like this one on Anna Kamienska.

For the Amos Trust, whose Seeds of Hope anthology is out now.

For my dad, who is still modelling everything I need to know.

For my colleagues.

For my students.

For this, by Anna Kamienska (please read it slowly).

For nattering with Jan in the health food shop.

For Shim being home.

For Millie, who takes me out of the house and ‘clear of the wheel of myself’.

For Harold Budd.

Anthony Wilson, This was a good week

The heat has rumbled off and on through the night.  It’s the earliest we’ve ever had the heat on down here in the southeast tip of Florida.  Our low yesterday morning was 48 degrees, which I know will sound balmy to people in the northern part of the continent.

I’m thinking of the first days of the furnace of my childhood in Montgomery, Alabama.  We usually had warm Septembers, but there would be one night in October when it would get chilly, and my dad would turn on the furnace.  I have nostalgic feelings about that scent:  waking up to the whiff of natural gas that fueled the furnace, the smell of summer’s dust incinerating.

Kristin Berkey-Abbott, Comfort Smells, Comfort Food

warm December day;
a puff of white ash
as I seal the incense jar

Jason Crane, haiku: 11 December 2020

Poetry Blog Digest 2020, Week 48

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.

If you thought that the long holiday weekend in the U.S. would mean less blogging, think again! Some poets never rest, and others write movingly about restfulness. Thanksgiving was examined from all angles, of course, plus I found two different reviews of essay collections by poets, overlapping with several posts about spareness in poetry. Two poetry bloggers are involved with new or newly revived online journals, and I quote those at length. To name just a few highlights. Happy reading!


Freshman year in a seminar college. The class was Astronomical Physics and Cosmology. For context, Hubble had discovered red shift galaxies in 1929; cosmic microwave background was detected in 1964; Wilson and Penzias won the Nobel Prize–three years after my freshman year–for their work, which led to confirmation of an expanding universe. The term “black holes” was relatively new, coined during the mid-60s; and a theoretical explanation of them had not yet been determined. Oh, and because desk calculators were large and prohibitively expensive, my fellow students and I were using slide rules for calculations.

Did I mention I had never taken a maths course beyond Algebra 2?

But our professor was enthusiastic and encouraging and loved using metaphors to help our teenaged brains decipher challenging concepts. I have forgotten most of his analogies, but the ballooniverse stayed with me. Everything in the universe is moving away from everything else. Our future is distance.

So it seems at present. Each of us moving away from one another. Defoe’s narrator says the best method of avoiding plague was to run from it.

But oh, my Beloveds, how I wish to be close to you.

Ann E. Michael, Expanding universe

In the center of February — or was it March? I cannot tell from this vantage point, but it was the middle point of a month, a segment of time that can seem rather long depending on what you are waiting for: an exam result, a diagnosis, or a child’s birth, yours or someone else’s, an answer from an editor or a love, the love you long for or the one you already have secured, like money in the bank you can draw from steadily for the rest of your life – a lottery of sorts. So, in the center of February, it was certainly cold — the kind of cold that makes you go to bed fully clothed on some nights because you won’t bare your nakedness to the lonely air so you slip off your boots, curl your socks and jeans and sweater and scarf, all of it, under the down duvet and breathe beneath the cover: in for 5, hold for 5, out for 10, to slow your heart rate because you are nervous for some reason — maybe because it’s in the center of February and you are alone —but that was then, in the center of a different February and in the center of the next you won’t be alone because you have a love secured who keeps you warm at night and you can count on that like money in the bank.

Cathy Wittmeyer, Starting with a Line from Patti Smith

After heartbreak, the thought of another love, a tender love, can become a dry territory to be skirted, or walled off. Not in Lucy Ingrams’ Light-fall. Here, ‘loved me    loved me not’ exist in the same breaths and curvatures, to love, have loved, ‘is to carry  …  is to be carried away.’

Reading these poems again and again has enabled for me a different vision of what it is to be alert and sentient in the world after a thinning love: they are open with courage, even when (especially when?) ‘weary of flowers’.

Bound in the familiarly confident Flarestack style, each page holds levers, phrases and twists of sound, which shift and interact to unlock sensations of light and thorn, and above all a strange hope.

It is rare to find a pamphlet in which every poem sings, and I enjoyed so much about this from the very start. Its lines flex, supple as the sea rendered in the exquisite opening poem, Swimmer, right up to the final exhalation of Blue hour. The rich imagery of intimacy and distance ranges across landscapes and seasons, with an originality that requires close attention.

Liz Lefroy, I Review Lucy Ingrams’ Light-fall

This full moon is called the Frost Moon or the Mourning Moon, which makes sense, as my family is still mourning the loss of my grandmother from coronavirus, and so many others are mourning loved ones lost this year. Wishing peace, love, and light to all of us who have lost love ones.

I haven’t been sleeping well since she died, and I haven’t been able to write or send out work at all, which I guess might be normal during a time of mourning. I was lucky, at my age, to still have grandparents left, I think. This year has been so, so hard for so many reasons. As a poet, I feel I should be coming up with better ways to say that. Will next year be any better? With the vaccine on the horizon, and a new President, maybe we have reason for hope.

Jeannine Hall Gailey, Low-Key Thanksgiving, a Mourning Moon, Closing Out the Year, and the Necessity of Early Holiday Cheer

But aren’t you better than a moon that cannot account
for borrowed light? Some things are better upside

down. Some things are better displaced. What if the
morning shifts as it wakes up in pain in your bed? What

if the evening changes the locus of your dream?

Rajani Radhakrishnan, Things still broken

It’s raining, a dreary gray-drenched drizzly rain. But rain blurs, takes the detail from things. What is data in rain? What is insistent, goal-driven argument? What is rain plus holiday? A chance to lay down my arms. Rest in a different kind of time. Steep in blue-gray pointillism where we can see ourselves in a continuous, constantly reimagined line. There were parents who puzzled the mysteries of cranberries and giving thanks during a World War; we once ran around Paris searching for airelles, cranberries, in a self-appointed quest. And in small pods, today all figurations of “we” will be losing some of our grievances. Yes, puzzling the mysteries of celebrating during crisis. Yes, cognizant of all the suffering and challenges – God knows we’re in the soup. At the same time celebrating the soup.

Jill Pearlman, thanksgiving in blue, quince and gray

A lump in the potatoes
proves they’re real. The masher
blames distractions, so many
people in the kitchen. The gravy maker
stays focused while other pans
change places, the drawer
at his elbow opens, closes, opens.

Ellen Roberts Young, Thanksgiving Poem

It occurred to me earlier this week that this is the first time ever in my whole life I am not spending Thanksgiving in Rockford amid some sort of family gathering or somesuch.  It’s strange, but I’ve been happily planning my menu and plotting crockpot action and content to sit this one out and get a few days at home. […] I’m sure there will be a lot of texting with my bestie over our solo cooking exploits and cat antics, and a phone call with my dad later tonight. I’m mostly grateful for a few days in which I don’t have to pretend to be a fully functioning human amid a national health crisis and can just veg. 

As for gratitude posts, it always reeks of a certain “live.life.love” vibe, thrown around by rich white women in yoga pants, but even still amidst the bad things, there are good things to be thankful for.  Family, friends,  sound relationships.  Jobs and health, things that seem to be in jeopardy most this season around us, but are holding steady.  Poems and the chance to work with other writers to make lovely books.  Art and reading, though these have been harder to get back to when my mind is in pandemic mode. Chicago and Lake Michigan, still here and still varying shades of blue.  My cozy apartment and a whole bunch of crazy cats. 

I had a lot of goals at the beginning of the year that, of course, did not pan out, but other things happened–virtual art exhibits & new ways of looking at library programming, entire manuscripts of poems, learning to make video poems, stepping back and re-evaluating some things in how I conduct myself as a writer in the world.  All good things amid the creeping fear. Also, gratitude for good decisions on a national level, and though the world is about 49 percent fucked up, racist , self-interested, deeply stupid and backward, the election proved that good wins by a slim majority, so at least its something and bodes well for 2021. And it’s something we can all be thankful for. 

Kristy Bowen, happy thanksgiving

For my friends, family & mighty lioness daughter.

Thanks for those with green thumbs & purple hearts, those that tickle me pink & others that arrive from outta the blue.

Praise for bringers of incense, flowers & music. All the poets, writers & artists that have inspired me, coaxed me off ledges of temporary insanity & uncertainty.

Graces to the teachers & healers, zen masters & car mechanics.

Mother Nature & the Mothers of Invention, animal vets & pets that say the most profound things with their eyes.

Grateful for the ground under my feet & roof over my head.

Indebted to the lights that still burn bright—in my apartment, my heart & mind.

Rich Ferguson, Longitudes & Latitudes of Gratitude

            thanksgiving 

                    so many 

                    empty chairs

Sharon Brogan, Thanksgiving 2020

I’ve been to two physical launches of issues of Magma poetry magazine. Both involved exhausting, expensive and time-consuming journeys from Somerset to London and back. Last Thursday I had the pleasure of attending a virtual Magma launch without travelling or expense. It was warm and intimate, with magnificent readings and the usual Zoomy glitches. Not by any means to be confused with gloomy Zitches. (Which, since you asked, is Urdu for “stalemates”.)

Magma 78 is mostly about collaborations. It is a rewarding and exciting read.

It got me thinking about other collaborations. I’ve been involved in a few, one of which was “Waterwoven”, a half-hour performance of poems about water. A sound-collage for six voices and rain-stick. Forty-two poems by six poets were cut up and rearranged to form a sequence for performance, beginning with the first drops of rain and ending with the vastness of the Atlantic. Solid blocks of blank verse were whittled down to slender elliptical stanzas. Sonnets and villanelles were ruthlessly dismembered. Many opening lines and first stanzas were discarded. Choruses emerged. We had the first draft of a script. Through four weeks of rehearsal it was refined bit by bit by all of us. Another week of rehearsal might have yielded further changes. We performed it in Bath Poetry Cafe and at Bristol Poetry Festival … and in the Literature tent at Priddy Folk Festival. The neighbouring tent was the venue for a programme of rousing sea shanties. I do love a rousing sea shanty, but …

Ama Bolton, On collaborations

November 2020 is the centenary of Paul Celan’s birth, and in 2020 it is also 50 years since he died. I have often written about him in this blog, but it has been lovely to see him widely commemorated this year and especially in this past month, even if many events had to be moved online due to the pandemic. And this has its advantages – in the past couple of weeks I attended a couple of excellent Celan events from Deutsches Haus in New York, despite living in the UK. 

While Celan’s poetry is often considered difficult, he has managed to gain legions of readers who haven’t been put off by this discouraging label and who often (like myself) can’t read him in German, the language in which he wrote most of his poetry. Sometimes if I’m looking at Twitter late at night (a bad habit) I find myself searching to see who’s tweeting about Celan all over the world (a good habit, or at least a better habit). English is by no means the dominant language, and I’m not sure German is either – he seems particularly popular in Spanish and Turkish. 

Celan’s identity is very difficult to pin down in any way. He was Jewish, but that isn’t necessary the dominant influence on his work (although it is massive). He was German-speaking but not German. He was Romanian, but his hometown of Chernivtsi is now in Ukraine. His greatest poetic work came from years in Paris, and he worked as a translator with many languages. All of this has probably succeeded in making him more universal. His poems are like radio transmissions directly from his mind and heart, in an new language, untranslated, somehow and mysteriously unmediated in a way that is different from most other poetry. The silences, gaps and elisions in his poems are also like the moments when the radio waves break up – but they are entirely deliberate, an essential part of the work of art, at times the most essential.

Clarissa Aykroyd, Remembering Paul Celan, 1920-1970

Like a new-
born heaving

for breath, the
poem has

preference for
air. Do not

hold back from
white space and

stanza break.
Let light shine

through the lines.

Tom Montag, INSTRUCTION

Okay, now I have gotten past the intro [to Synthesizing Gravity], and yes, yes to many of these erudite little essays in which Kay Ryan thinks her Kay Ryan-ish delighted thoughts on poems that interest her interesting mind. I have had some friends in my life like Kay Ryan in whom I totally delight and with whom I’m always a little anxious. These are people SO much smarter than I am, totally idiosyncratic in their brilliance, and they just dazzle without being anything grand or fancy but just being their often small-seeming, darkly quietly brilliant selves. And I’m anxious that they find me likable and never discover the dolt I am. This is what Kay Ryan would be like if I could be her friend. And I would love to be her friend. Or at least her roommate at an AWP conference, about which she devotes one hilarious essay, her reluctant attendance at an AWP as a visiting alien, wide-eyed and exhausted by the planet-change. 

Here is something she says, in the context of considering a Robert Frost poem, but so relevant to the poetry writing process in general, I think, and relevant to a discussion I had recently with a poet friend. About her spare, crystalline poems, which I often find engimatic, I’m constantly asking basically, “Can you tell us just a little bit more?” Ryan says: “The amount you need to say is so hard to gauge. How much can you not say, and something will still have the charge of the unsaid? There is a point at which what is said is too pale, or frail, one fears, to tip the mind into the unsaid. And the reason for the pallor might not be punctilio but a genuine failure of force.”

I had to look up “punctilio” (“a fine or petty point of conduct or procedure”) and in so doing sort of lost track of things, but she’s addressing, I believe, choice-making — how to choose the words/syntax/form that will carry the greatest resonance, undone by either too much or too little actual information. 

Here, from another essay, this one considering William Carlos Williams, she comes at the same question from the other end: “How much can you take away? It’s always a question. Or maybe it’s exactly the wrong question, posed like that. If you think you are taking away, then you probably are — diminishing something. You have to be looking for something, feeling for the contours of the thing inside the distractions, trying to add just a little bit moreto what you know.”

All this is to say that Kay Ryan is a delightful essayorial companion, and I’m enjoying this collection without the anxiety of worrying about whether she is enjoying me.

Marilyn McCabe, I want you to show me the way; or, On Reading Kay Ryan

From Driftpile Cree Nation writer Billy-Ray Belcourt, Canada’s first First Nations Rhodes Scholar, comes his non-fiction debut, the rich and remarkable A History of My Brief Body (Columbus OH: Two Dollar Radio, 2020). The author of the poetry collections This Wound Is a World (Calgary AB: Frontenac House, 2017), winner of the Griffin Poetry Prize, and NDN Coping Mechanisms:Notes from the Field (Toronto ON: Anansi, 2019) [see my review of such here], A History of My Brief Body is a collection of short essays that blend lyric memoir, critical theory, life writing and confessional on his cultural and contemporary self, blended together into a commentary on grief, sexuality, gender, colonialism and the body across fourteen sharply brilliant and beautifully written essays. As he writes early on in “AN NDN BOYHOOD”: “Perhaps this pressurized orientation to memory—a body in the present—is always the case with life-writing. The writ  is called on by others to do the politically significant and ethically charged work of construction and then documentation. This is my job to report from the scene of an undead past colliding with a still-to-be-determined future.” Belcourt’s view is unflinching, writing on the cultural and sexual self and the contexts around which he emerged and exists, writing the dark underpinnings of racism and homophobia, the falterings of any coming-of-age and sexual awakenings, and the ongoing personal and family legacies of the residential school system, as well as multiple other concerns, experiences and explorations. As he writes to open the title essay: “Let’s start with the body, for so much is worn and lost, and lost and lost there.” The essays centre around the body, as the body is where everything is felt, everything ends, and everything begins. And from the foundation of the body, so too does he write on the requirements and statements around desire, and the possibilities, joys and complications of desire. And from there, his essays open into a meditative suite of incredible depth, range and complexity. As he asks early on, how does one exists in such a space of constant erasure and denial, citing experiences around his culture, his family and his sexuality?

rob mclennan, Billy-Ray Belcourt, A History of My Brief Body

It’s ok to not be ok

That’s what the Samaritans say and you often find this mantra in places of extremity like bridges or rail-tracks. I recall having a blazing row with a university friend of mine from Madeira about how it was more seemly to hide your feelings – ala the stiff upper lip of the butler in Remains of the Day – but he maintained that we should pour out our emotions with wild abandon. Now, nearly fifteen years on, I agree with him.

To be honest, I don’t know what the done thing is. I tend to waver between apathy and lachrimae. But when it comes to writing poetry it seems that it’s not ok to say what you feel. In my most recent publications I’ve been criticised for laying myself bare and making myself too vulnerable via self-deprecation. There’s a thin line between not being ok and being self-pitying, it seems.

I think the problem is inherent in the marketing of poetry. There are so many people clamouring for attention in such a small arena. You have to play the big-shot at all times – you have to give out the impression that you’re a grand fromage when you aren’t. Modern poetry – that is to say the stuff that is successful now and wins all the (yawn) prizes – doesn’t dare for a second doubt itself. I find that a great shame. Poetry for me is the dramatisation of aporia or deep doubts within ourselves. But in order to sell poetry (and thus yourself) you have to be bumptious – these two drives are inherently incompatible. When did the sales-people take over poetry?

It’s ok to not be ok – but don’t for a moment get ideas above your station and think you can write poetry that matters from it – that will never sell!

Richie McCaffery, It’s ok to not be ok

My booklet on getting published in UK poetry mags is selling even better than the first edition – wowsers! And THANK YOU for buying it, telling your friends/students/social media contacts all about it.

Planet Poetry, the podcast I co-host with Peter Kenny, is generating some lovely comments. Thank you for that too! Working with Peter on the podcast has been one of the things keeping me positive.

There’s so much I’m enjoying about the course I’m doing, not least of all how it’s opening my eyes to so much great poetry and ideas about poetry that I’d never have encountered otherwise. My bookshelf is bulging. There’s enough reading there to keep me going for the rest of my life, I think.

We’re still planning on having a scaled-down Lewes Singers Christmas concert: venues and singers booked, music distributed. It’ll be intimate. But OH HOW MUCH Nick and I want it to happen, even if we’re only singing to ourselves and a handful of friends and family.

Robin Houghton, – and + and so it goes

For the last couple of months, I’ve been carving out a minimum of half every weekday morning to work on my poems. I’ve enjoyed the time to focus (albeit initially with a slight annoyance that it took me 6 months of lockdown to get into this rhythm, but I’m over that now) and to a degree, I’m reaping some of the benefits in the sense of having written at least 5 poems I’d say are among my best (so far) and have revisited some older ones to improve them. One of the newer ones, while declined by a big mag (and editor/poet I have long been a fan of), came very close to publication.

Adding to that a lovely day yesterday and today celebrating my wife’s birthday, and coupling all of that with getting two of the five reviews I have to write out of the door this week has meant that a stressful and mentally demanding week has, on balance, been a good week.

However, it was when Rachael came upstairs to my little office midweek that the best bit of the week happened. She saw me writing a draft of a poem I’ve had floating about for years. I thought it was done but I went back to it to see if I could get it ready in time to submit to a web journal that had a limited submissions window. I didn’t manage to finish it in time, and the poems I did send were declined this week too, but that’s by the by.

Rach came up, placed a cup of tea by my notepad and saw the handwritten draft with my near illegible to anyone other than me handwriting on. When I draft I use stress (/) and unstressed () symbols to make sure I’m on the right track. It helps keep track of syllable counts (other methods are available and perfectly valid, of course). She looked at the scratches and scribbles, the crossings out and the symbols and declared in her most-matter-of-fact-way, “You just make marks on the page”.

Mat Riches, Interested Parties

Ozric, my lurcher, has become integral to my writing process because most of the poems I write these days are composed when I’m out walking.

Billy Collins, in his introduction to Haiku in English: The First Hundred Years, talks about the habit of walking and writing haiku: ‘I got into the habit of walking with her [his dog] every morning along the shore of the reservoir, and almost every morning I would try to compose a haiku before I got back home’.

I don’t know about Collins, but I don’t carry a notebook on my walks, at least not in the mornings. For one thing, there isn’t time. Also, I think that carrying a notebook would be an obvious signal to my brain that I was going out to write a poem and that’s the very antithesis of what I’m doing. It’s a dog walk, with all the attendant issues of route and timing, head torch and poo bags. Weekday mornings I’m out by 6.20 am when the world is still largely silent. I’m always tired but once I’m out, I experience a sort of alertness that I see in the dog, all his senses engaged. It’s a sort of openness, a state in which the smallest details become noticeable and important.

Daily composition has resulted in a lot of haiku, although if I’m brutally honest with myself, most aren’t any good. However, there’s been a shift in my focus. Morning or evening, I’m more inclined to be listening to the wind or watching my breath mist in the light of the headtorch beam, than fretting about work or whether to put the washer on when I get home. Sometimes, I stop at the brow of the hill and take a minute to just stand and gaze at the moon. It might be cold and windy, but the moon is so changeable it is proving to be infinitely interesting. That’s the brilliant thing about haiku, by the way, there’s still room for poems about the moon!

Julie Mellor, Presence

We had eaten and were watered. Now we retired to the snug, for a conversation on mental health, our experiences of losing, finding and sustaining it, for others as well as ourselves. The space was safe and brave. Raw recollection was admitted. There were silences, there was laughter.

We did not arrive at an answer, a one-size fits all bag of tricks or tips that each of us would be able to call into play the following Monday morning. To paraphrase T. S. Eliot, we were aware of a fixed point, but in the end there was only the dance.

Into the final space of sharing one of us read the poem above, transporting us all to that time of not understanding, feeling left out, bullied, or ignored that we call school. There was another silence. Not a poetry-reading silence, filled with hmmms, but the silence of a room of souls confronting their own vulnerability. Several of our heads were bowed, as though in prayer.

Into the silence one of our voices spoke up. It said: ‘I bloody hate poetry.’ At which point the room erupted into laughter, helplessly, for fully five minutes.

I look back at that moment with great fondness. For its honesty. For the mismatch between the intended outcome of the sharing and the actuality of what happened. For its sheer comic timing. For that person, what had started out with one English teacher’s passion (‘You will love this…’) had led, poem by weary poem, week by mismatched week, to poetry not hitting the mark, to irritation, to loathing, to giving up.

It happens.

When we expect poetry to manufacture a solution which will somehow magic the actuality of the awfulness of this moment away. Into the gap between this huge expectation (and I am one of those who expects to have their mind blown with every poem) and the poem is where the actual poem takes its place. It is ‘what we missed’, whether we hate poetry or not.

Anthony Wilson, What you missed

When 2020 began, it wasn’t my intention to return to my poetry site And Other Poems – to be honest, I’ve been enjoying not reading through submitted poems, replying to enquiries, accepting or rejecting poems (never easy to say “no thank you” to someone, especially people who I count as friends or who I’ve got to know well), formatting poems in WordPress, chasing poets up for bio’s and sharing poems on social media.  But then… Covid-19 happened.  As spring has turned to summer to autumn and nearly winter, and the UK is still immersed in various levels of lockdown, the thought crossed my mind that people might like somewhere to place poems they’ve been writing.

But I wasn’t keen to give myself ‘work’ because this year I’ve been trying to progress various writing projects, poetry and prose, and I didn’t want to ‘gift’ myself with any extra form of procrastination.  But the niggly thought remained that I wasn’t doing anything for the Poetry Effort!  These are tough times and it’s all hands to the pump! Or all hands to Zoom for poetry readings, in any case. With IRL poetry festivals and events cancelled, the online readings are booming and I’m not pulling my weight by taking part in any, as a host or audience member.

If not Zooming (because I’m not a fan) what could I offer the poetry community, I asked myself, because I do like to contribute something to the poetry world.  Everyone knows that poetry is mostly read by people who write poetry (although I’m sure this will change one day!) so if I wasn’t giving out to the poetry ‘economy’ why should I expect anything back? The tipping point for opening up submissions to AOP was the US election, when we were waiting for results.  I badly needed some kind of distraction, the tension was becoming unbearable!  And I’m not even American.  But, as a citizen of the world, I was feeling anxious about the outcome.  And that is why I opened a smallish window for And Other Poems, from 6 – 15 November (quietly mentioned in a previous post).

The poems began to arrive at once and I started to accept them immediately, reading at speed and posting them up on the site.  Because why wait? Who cares about conventions, especially in the time of a pandemic.  Inevitably, my fast reading has probably meant that some magnum opus has slipped away without me noticing – it wouldn’t be the first time. I made myself promise that I would only post poems that made a strong connection with me and that I thought would connect with readers.  I’m trying to choose a variety of different poems rather than all of the same kind.  I like it when I sense poets aren’t playing safe.

In all, 173 poets sent in a total of 726 poems during this submissions window.  I will reply to everyone and certainly within the next few weeks. I mention this just in case you’re reading this and expecting to hear from me.

My reward, as always always is the case, has been the poetry.  What beautiful, knockout, fresh, funny, heart-melting, vibrant poems people are writing.  What a privilege to be able to read them.

I’m posting poems four times a week, on Tuesdays, Thursdays, Saturdays and Sundays, from now until the end of January, 2021.  And then, And Other Poems will be taking a rest again.  For the time being.  I do have some plans to possibly find a way of opening submissions again.  I will keep you informed.  National Blog Writing Month has gone to pot.

Josephine Corcoran, Reading many poems

I was delighted to learn today that my poem from This Embodied Condition – “The Descent,” a weird hybrid prose-poem/cadralor series (with liberties taken) – has been nominated for a Pushcart Prize.

There is so little acknowledgement, never mind real celebration, of our work so much of the time that when it comes, it’s a lovely boost in our largely solitary pursuit.

That difficult poem also led to a connection with Gleam, the Journal of the Cadralor, for which I’m now a contributing editor.

I’d been sitting out public roles in the PoBiz, purposely, for the last 3 years, and had also taken a real break from publishing, having experienced what they call a ‘post-traumatic transformation’ of values after having my spine renovated. It left me with deep commitment to very literally embodied pursuits, and zero interest anymore in playing the games involved in being Important in the Literary World (or ever working 110 hours a week again – when only paid for 40, if that).

But the newness of this form and the journal celebrating and advancing it attracted me. There is a just-born energy in the cadralor itself, and a humble, radiant, intense flooding that it seems to inspire, that has real magic. The people associated are great – and just in love with poets, as it should be.

Sliding back into an editor’s chair in this particular context has been a total joy. It also allowed me to invite some people I intuited might connect with it to try their hand at the form, and it’s been a radical pleasure to see them just SLAY in response – particularly since for some of them, poetry itself is a new art form, or like me, they’d been sitting out the more commodified areas of the art, burned or disgusted by the high stakes and expenditures for, let’s be honest: low return. It is much more in the unofficial channels that actually exciting dialogue happens, much of the time, and I’m thrilled to be able to make bridges between these worlds when and as I can.

The idea, with the cadralor (which you can’t tell from mine because of aforementioned liberties) is:

The cadralor is a poem of 5, unrelated, numbered stanzaic images, each of which can stand alone as a poem, is fewer than 10 lines, and ideally constrains all stanzas to the same number of lines. Imagery is crucial to cadralore: each stanza should be a whole, imagist poem, almost like a scene from a film, or a photograph. The fifth stanza acts as the crucible, alchemically pulling the unrelated stanzas together into a love poem. By “love poem,” we mean that your fifth stanza illuminates a gleaming thread that runs obliquely through the unrelated stanzas and answers the compelling question: “For what do you yearn?” 

It is left to the poet’s discretion to decide how much, if any, contextual connection or linguistic connection will exist between the stanzas. The more unrelated in context, the sharper–riskier–the poem. Ultimately, the more unrelated the stanzas, the more successful the poem will be as a cadralor: they contain oblique connections that are illuminated by the fifth stanza. End punctuation between stanzas is also at the discretion of the poet.”

There is something ghazal-ish about them in feel, for me, but they also can go in so many directions that it’s been endless surprise to discover what other writers are doing with them.

I can promise you a wide range of approaches and some just gobsmacking work in the launch issue, coming soon now, to be celebrated at Gleam Journal in the week after Thanksgiving, and in a Zoom launch party and reading (come join us!) December 6th at 7pm EST.

I’m so glad for this bright spot in what is increasingly an apocalyptic landscape.

JJS, The good, the bad, the ugly: on Gleam Journal, covid apocalyptica, and the lovely bones of poets

It seems to be a widely acknowledged fact that time has been speeding up over the last few years in current affairs and newsfeeds, especially in terms of how quickly one major story is replaced by another (often on puropose, so as to bury bad news quickly!).This effect has also been noticeable in the poetry world, meaning that every magazine issue, new collection or review has a shorter time in the sun.

However, the pandemic seems to have accelerated that process even more. Zoom launches pile up, one on top of another, while social media races ever more quickly onwards, spitting out promotional posts, mini-reviews and quotes as it goes. Attention spans appear to shrink on a daily basis; books sink without trace. 

In normal circumstances, a collection would still be very much alive six months after coming out. Right now, I’ve spotted several friends bemoaning the fact that their 2020 publications have already vanished from view.

In this context, it’s important to pause, take a deep breath and keep subscribing to print-based journals with a greater time lag and thus a longer life, while also forcing ourselves to read more substantial texts online such as essays and blog reviews instead of scrolling through Twitter. Poets will thank us for doing so, while in purely selfish terms we won’t miss out on stuff that would otherwise pass us by. Most of all, we might slow down and actually take the time to snaffle a poem properly, read it, re-read it and read it again…

Matthew Stewart, Time is speeding up

This morning the crows’ chatter was grating. It shouldn’t have been. But in the dark, in the drizzle, with my shoulders aching and my mind echoing conversations (that have and haven’t actually taken place), I wanted to shout back.

I’ve always found it easiest to shift my perspective when I shift it in the material world. Stand-up. Run. Leave town for a day. Leave the country for a week. For good. How big is the thing I need perspective on?

I wanted to rush through their gathering
the way the freight train does on most mornings,
so close to the grove you can feel the wind
rerouted by its intrusion.
The trees shake. The crows wait.

I can hear it now, actually – right on cue – passing behind the neighbor’s house, metal against metal in a high-pitched howl. I can feel a cry somewhere
behind my sternum. It presses
upward and is easy to mistake for heartburn,
though not acidic: rounder, fuller
like an over-ripe fruit.

Nothing like metal shavings of the railroad track, actually.
Nothing that can compete with the world’s ills and hurts and
imperatives.

No. This withheld cry will soften into rot
and something new will eventually
emerge. A new fruit – not better – but
a potential. Because
on it goes.

And catharsis? Well, that’s the stuff
of fiction.

Ren Powell, When It’s Just Too Much

Sacramento Valley. Dusk.
Another sunset.
Up and out from under the causeway,
The bats take flight. By the thousands.
Higher, above, a red-tail hawk circles the floodplain.
And in the town?
The sounds of knives and forks against plates.
Television sets light the windows.
Define loneliness;
That empty feeling, multiplied by silence.
Your face in the mirror.
Sacramento Valley. Dusk.
Another sunset.

James Lee Jobe, That empty feeling, multiplied by silence.

Dear Mom: I wear you draped around my shoulders almost every day now. The first thing I claimed from your closet was a cashmere shawl. It is a light color, somewhere between brown and grey, like a northern squirrel in wintertime. It is soft as baby hair. Your clothes were so spectacular, and your shoes, but none of them would fit me. But this wrap is one-size-fits-all. 

It’s been a strange autumn, but November’s cold and damp have finally settled in. Your shawl lives folded on the back of my chair, and every morning I wrap it around myself like a tallit. Its wings warm me and protect me. Sometimes when I put it on I say “hi, Mom.” Sometimes when I walk past the photograph of us in my bedroom, I greet you there too. 

Soon I will hold Crossing the Sea in my hands. What would you make of it? I hope it would make you glad. To know that I am still thinking of you (will always be thinking of you). I imagine sending you a copy, there on the other side. Maybe the reference to mango mousse would make you smile, or the cheery tulips on Park Avenue, or the pale green purse (once yours) that I carry now every spring.

I carry you now. You’ve become so light on my shoulders I scarcely feel you there. Maybe that’s because your soul has ascended. Maybe that’s because my grief has ascended, transmuted, turned mostly into memory. But I feel the warmth of the shawl I took from your closet. I wear it every day. And if I listen closely enough, I can still hear the piano notes reverberating from the last time I heard you play.

Rachel Barenblat, A letter to the other side

In this time of continued suffering and uncertainty, it feels wrong, somehow, to feel as good as I have this long weekend. But what I’ve seen these past few days, more clearly than I did even in the spring, is that some aspects of pandemic life are good for me, and when we are past this enough to safely gather again, there are things from these months that I want to hold onto.

I know that it might not be easy; if I excuse myself from fast-paced living and unnecessary obligation I won’t have the ready excuse of a pandemic, which no one in my circle has questioned or pushed back on. I have been able to say both “yes” and “no” to things I normally might not, without hurting anyone’s feelings or disappointing anyone’s expectations (including my own). We have been giving each other all kinds of grace in acknowledgement of the hard time we are living through.

As I’m feeling myself come back to physical and mental wellness from just these few days of deep rest, I’m wondering: Couldn’t we maybe keep doing that for each other? It’s not like anyone I know was living particularly easy before last March. Couldn’t we keep accepting these kinds of choices as being necessary for our health (in the widest, most global sense)?

The things I want in my life are not controversial (or shouldn’t be). I want fewer superficial connections and more deep ones. I want more time at home, living slowly. I want time to rest my body and time to move it. I want to do and have fewer things, and I want the things I do have to be the right things. I want to take more long walks, spend less money, eat more good food, make more things, and live in such a way that I support people and causes that make this world the kind I’d like to live in.

I don’t know exactly how I’m going to do it, once the world starts back up again, but that’s OK for now. Figuring out what we want is sometimes the hardest part of getting it.

Rita Ott Ramstad, Choose your own adventure

The reason that I remain so stubbornly dedicated to my job, my community, my little neighborhood hospital, is that I’ve always known in the back of my mind that I have no control over anything else. My life was not meant to be big. I, like many before me who have served that hospital, was meant to be a small but meaningful light in a small but meaningful space, a space that for all its flaws and daunting issues is a place of healing and rescue, of renewal and restoration. And we are about to be very, very full of people needing all of those things. And I will do my part. I cannot control the virus or the fate of the economy or the political machinations going on with of either of those things. I can’t help the enslaved, the tortured, the starving, the victims of bombings and unjust wars across the world. I can’t rescue anyone but myself. I have to protect myself, take care of myself, and stand strong. It will not do for me to fall apart, to, as the song puts it, “be idle with despair.”I can only take solace in the fact that I am needed and that I have a community to serve.

To not end this on a total bummer: In spite of the fact that games are not adequately distracting me anymore, Steam had a huge sale this weekend and I downloaded the Witcher 3. None of the other Witcher games ever worked right on my computer, but I have a good video card now and this one works great. I am taking great solace in the fact that Geralt, the titular character, is a freak. Being a witcher is very stigmatized and he is essentially a lonely wanderer. Everyone wants his “special skills” and help, but no one really wants to associate with him other than transactionally. I’m enjoying playing a character in perpetual pain. It’s weirdly comforting right now.

Kristen McHenry, Gloom Train

plant the seed where seeds don’t grow
in the dark places
walk away
does it matter if it grows
the lonely word drops letters
everywhere it goes with you
loneliness drops hints
that every letter parchment bound
never adds or removes from the world
never blooms or runs to seed
but sits there with you friend

Jim Young, take the word loneliness

And is there a word  for the new  

scar inflicted by your silence? for how it’s fallen
on a threshold where we’ll walk, knowing

every other door is barred from within? In this world,
the cold, hard bread of the moon leaves

a trail for the broken to follow: they come to the water
looking for a thistle, a lily; silver shoots along its hairline.

Who knows how long it will take. Who knows if by then
we’ll remember the sound of each other’s voice. 

Luisa A. Igloria, Given a wing, what would you fashion

Poetry Blog Digest 2020, Week 46

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts.

This week: Winter is coming without the solace of big family gatherings to look forward to, and hatches real and figurative are being battened down. But amid the grimness of pandemic and political news, new poetry collections are still being released, and the natural world continues to inspire.

While I have your attention, allow me the indulgence of a rare plug for something I’ve just posted myself: How to publish poetry videos in a literary magazine: 20 tips and best practices. Not perhaps the most exciting stuff, but hopefully some will find it helpful.


Tuesday we woke
to high lines
of snow along
the birch limbs
out our bedroom
window.

Two days later
snow has congealed
to slush balls
that fall
to the ground
with thuds.

Frost shadows
rest across grass
and asphalt. Sky
changes mood
from fog
to blue.

They are counting
votes again
in Arizona.
They will
count again
elsewhere.

The country’s
mood changes
from slush
to thud
to fog
to blue.

Sharon Brogan, Snapshot Poem 12 November 2020

The sky is a negative shadow. We walk hurriedly in avoidance of oncoming rain. Our walk snaps our pant legs in an escalating rhythm breaking into a run the last 300 feet as the rain falls straight downward, hard and fast like it’s on steroids. 

Michael Allyn Wells, A Late Afternoon Shower

It’s a gloomy rainy dark day, and our State, Maryland, is going into lockdown again, due to the uptick in COVID cases.

The big convent where I live is almost completely locked down as of today, because one sister and one employee have tested positive.  We’re so afraid of transmitting it to our very frail elderly sisters in their 90’s.   But on this dark afternoon, the place seems like a tomb.

Anne Higgins, Rain all Day

It’s been a gloomy week.  I thought that once we had an answer about the presidential election, I’d feel buoyed.  But instead I just feel worn out.

It’s been gloomy in terms of our weather too.  We’ve had a tropical storm in the metaphorical neighborhood all week, and it’s been a mix of rain and clouds.  Ordinarily I’d like this kind of weather, but when one has flooding worries, it’s a different experience.

There’s been gloomy news about the pandemic as cases increase, and we reach grim milestone after grim milestone. […]

I’ve also spent the week feeling a fierce nostalgia for past times–some of them not very long ago, like our trip to Hilton Head in September or my quilting retreat in October.  I’m fighting off depression each day because I had expected to be looking forward to a family Thanksgiving, but this year, we’re taking the wiser course of action and not gathering in person.

In short, it’s been a week where I’ve felt that progress that I’ve made has been slipping.  I’ve been trying to treat myself gently, trying to convince myself that doing the tasks that need to be done each day is enough.  These are the days when I feel like I should be congratulated for wearing shoes that match my outfit–or for wearing shoes that match.

It seems that the whole world may be feeling the same way.  So I say, congratulations–you’ve got shoes that match, and that’s good enough for days like these.

Kristin Berkey-Abbott, Credit for Shoes that Match

How long, how long before we remember
these times of distance again, fondly, like a

memory, like an ache, like a fervent prayer?
Winter will come, with its lantern light and

unfeeling skies, winter will come like a train
on a moonless night, as if nothing ever happened.

Rajani Radhakrishnan, Like an ache, like a fervent prayer

I seem to have finally settled in and have figured out how to spend my time and not lose my mind. It helps that I’m working on a new poetry project — I’ll announce it soon but it has to stay under wraps for just a little while longer. This new project has been a great way to channel my energy. I also saw a therapist for a while, specifically to deal with the despair and anxiety I was feeling – partly due to the pandemic, partly due to the election, partly due to my father’s health. Talking to a professional helped me work through some of that and get to a place where I was better mentally.

And now, it appears a lockdown is coming. Several cities have already imposed restrictions on movement and I predict more are coming. While this is hard, especially on those of us who are extraverts, I do think it’s necessary. Because we all want this pandemic to end. I want to be able to see my best friend and hug her. I want to host a dinner party. I want to attend a poetry reading in person, as opposed to on Zoom. I want to eat in a restaurant. In short, I want life to return to normal. But we’re not there yet. So until then, and until another lockdown occurs, I’m sticking to my now very familiar routine. There’s simply nothing else I can do.

Courtney LeBlanc, Rinse & Repeat

Today’s release reading for my new chapbook was such a gift. I got to read alongside students, peers, and mentors in a Zoom room full of friends, family, and former strangers. Most of the reading is available for viewing on YouTube now.

I never expected that such a joyful event would come from my little chapbook of deep grief, but getting to weave my words together with work by each of these wonderful poets was amazing.

Thank you to all who read with me and worked behind the scenes to make this possible. Thank you to the 100+ people who attended too. This poet feels very celebrated and grateful today.

Visit this page to find out more about 28,065 Nights.

Katie Manning, 28,065 Nights Release Reading

My mother and I had a complicated relationship. Over the first 43 years of my life we adored each other; we argued with each other; we delighted each other; we disappointed each other. Just now I had to look at a calendar to remind myself how old I was when Mom died: sometimes it feels like she’s been gone for a long time, and sometimes it feels like she’s still here. 

If you’ve been reading this blog for any length of time at all, you know that I’m an external processor. I “write my way through the hurricane.” (Thanks, Lin-Manuel.) In rabbinical school I wrote Torah poems week after week. When I miscarried, I wrote poems as I sought healing. During my son’s first year of life I wrote weekly poems chronicling his changes… and mine.

How else could I possibly respond to my mother’s death? I keened and grieved and wept — and wrote. When I was in my MFA program in my early 20s, she didn’t like some of my poems; they felt too revelatory. Would she find these poems too intimate to be shared? I shared early drafts here anyway, because I needed to send the words out: into the world, if not to her.

Many of you wrote to me saying that the poems spoke to you and mirrored your experiences of loss. Over the course of the eleven months between her death and her unveiling, I wrote my way through how grief was changing me, and changing in me, until I reached the far shore of that particular sea. I will never cross it in that same way again, because one’s mother only dies once.

And then, after the year was over, I sat down with a trusted friend and editor and asked: are these poems worth publishing in a less ephemeral form? Beth helped me see how the poems could be improved, and what was missing from the collection, and how to make the book more than the sum of its parts. This book is far better for her editorial hand, and I am grateful.

I am fiercely proud of this book of poems. It is a tribute to Mom, and a testament to how much she shaped me (and continues to shape me). It’s a reminder that relationships can continue after death, and that time’s alchemy brings subtle shifts. It’s personal, because our relationship was only ours… and I think it’s universal, too, because we all have mothers, and we all know loss.

If you knew Liana Barenblat, I hope you’ll find her here. And if you didn’t know my mom, I hope you’ll find in these poems echoes of your own relationships, and maybe a roadmap for the mourner’s path, that complex journey of grief and love, loss and healing. I’m so thankful to Beth Adams at Phoenicia for bringing this book to press, and for her cover art, which I love.

Rachel Barenblat, Crossing the Sea

In Vanishings, from Palewell Press (2020) skilled writer Rebecca Gethin uses poetry to show us at-risk-of-extinction creatures in the U.K. — large and small and in-between — species that we may never see ourselves or even have known of their existence. […]

Elly: Although each of the poems can be enjoyed on its own, there is obviously an overall theme to the collection. Would you go even further and say you have a purpose, intended message?

Rebecca: I have long felt that nature is slipping away from us. I have kept a nature/weather notebook for at least 25 years, recording weathers and sightings and I know that cuckoos and swallows return to this place earlier than before, that some plants flower at different times from 20 years ago.

In this book I wanted to explore transience and break down the reasons for it happening in the UK for myself. To look at in the face. I don’t plan things in advance so when I started out I didn’t know it would be a book. As with my two novels, I start writing and hope it will cohere. I was lucky that after I had written about ten poems Camilla Reeve at Palewell Press said she would publish them as a pamphlet. But after a while the idea grew like grass and became bigger than that. This early acceptance gave me permission to approach naturalists and ask questions of them which I wouldn’t have found that easy if I was just writing a poem.

The idea behind each poem was initially to find out what made each creature so vulnerable…there is a range of reasons why extinctions are happening. It isn’t just one. I found that sometimes it’s their very specific habitat that is threatened like the water vole in Backwater or the willow-tit in Calibration of Loss; sometimes it’s the requirements of their complex life-cycle like the Marsh Fritillary in Instar: sometimes their diet is now in short supply like the greater horse-shoe bats in Glints in the Echoes or the cuckoos in Natural Selection; sometimes its dependency on another rare creature as in the Large Blue poem, Charm. My aim was to explore the creatures’ lives and try to capture it a little in words. I didn’t want to shy away from scientific words and didn’t worry if all readers wouldn’t be familiar with them if it felt like the most suitable word. I also wanted facts to sing and so I deliberately walked a very delicate line.

One rule I imposed upon myself was that I should see and experience the creature in real life and I shouldn’t just write from watching videos. So I saw (almost) everything in this book. I didn’t see the corncrake but I would have done if Lockdown 1 had not prevented me from travelling to Orkney. I think seeing the creature gives writing more of a spark. It certainly meant that I fell deeply in love with every creature I wrote about for this book.

No, there was no “message” planned, other than Look at This! I love taking photos and take my camera everywhere. I think the urge to write the poems was the same …to catch the fleetingness. I also wanted to investigate and see as much as possible what lies below the surface. The facts are often far stranger than any fiction.

E.E. Nobbs, Notes on Rebecca Gethin’s Vanishings

As the release of this book baby edges closer and closer, I’ve been thinking about the process of writing it and the strange journey it encompasses. Most of it was written in early to mid 2018. The first section was the hunger palace:  a beast of a series that sometimes is rough to read. Starting tenuously while my mother was hospitalized, the bulk of it came out like blood flow over my holiday break from the library.  I remember writing and freezing–a cold snap that made my apartment chillier than usual, so much so that even the space heater was failing me.  Free of daily obligations of work and commuting, I would move back and forth from my bed, where it was warmest, to my desk in the living room and then back to bed. The entire series was super rough and needed much more work than other parts of the book.  plump for example, written for our library Grimm project came rather quickly and easily and were urged on by the accompanying visual images. the science of impossible objects  had been an idea for a long time before I put pen to paper–the imaginary daughter–but when I did, progress through them happened swiftly at a time when I was writing daily. swallow was a little more drawn out, but again, it seems to be the case the more personal and raw the impulse behind the poems.  the summer house, which took it’s inspiration from the visual pieces, and is more an allegory about childbearing and changelings was, comparatively, a breeze. 

I’ve often said certain obsessions tend to begin constellating work around them.  Suddenly, the puzzle comes together. Suddenly, it was conceived (no pun intended) a book about mothers and daughters, about their bodies and the legacies we inherit from women in our bloodline. About body issues and growing up female. About the choice to be childless as a woman and what that means from a mythical and literal standpoint.  As someone who does not identify as a mother to anything but books , it’s a bit tilted a perspective–the idea of the artist giving birth to changelings and imaginary children is an apt metaphor for creation perhaps. And also, a book about grief, about working through the grief of losing a mother and all those motherless girls of myth and fairytale. (the line in hp “I’ve killed more mothers than I’ve revived.”) 

I’ll be finishing up the design aspects in the coming week and aiming for a December release (it will be available on Amazon as a print and an e-book eventually) and also going out to books & objects series subscribers via Patreon. 

Kristy Bowen, feed

There was a very interesting article this week, “On Poets and Prizes,” by Juliana Spahr and Stephanie Young, at the ASAP journal. It talked about the fact that, though some of us might prefer to think of the poetry world as a meritocracy, it is mostly a function of a small “in-crowd” of Ivy League types giving prizes to their friends, and only their friends. The charts and graphs alone are worth a look. Data-driven poetry information. Since poetry receives so little attention in America – and so few sales – the poetry prize decides whether a writer is read – or ignored. And most of this is nepotistic – highly nepotistic. More than you thought, if you already thought it was.

It is hard, as I have posted the last two weeks on the blog, to make a living as a poet. If you did not come from a family with money, didn’t go to the “right” schools, never ran with the “right” poetry in-crowds, it’s going to be even tougher. I mourn having to say this, especially to younger poets with more enthusiasm and optimism than I had (I was always a little cynical.) If you don’t go to Iowa for your MFA, you don’t go to New York City and the right parties, you are probably never going to get the big prizes or the big fellowships. Which means, you probably won’t be read. The data presented in the article is fairly convincing.

But…it does happen – and I know people who it has happened for, who were lucky, who just on the merit of their work and their hustle, did make it. I am so happy to know that such poets exist.  Publishers, from time to time, present terrific work by people from “nowhere,” who don’t have money or go to prestigious schools, and their work finds not only an audience, but good reviews and accolades and yes, prizes. Am I likely to be one of the lucky ones? Are you? The odds, as the article makes clear, may not be in our favor. But there is something honorable about writing, publishing, continuing to offer the work to the world, isn’t there?

If we are Katniss Everdeen and the Poetry World is the Hunger Games, how do we start to break the game, the in-crowd, nepotistic, odd-are-never-in-our-favour  system? Do we want to? How do you choose which poetry books to read, or decide which book is good and worthy of your time? How do you choose which book to review?

Jeannine Hall Gailey, A Poem Up at Verse Daily, Rough Week, And On Poets And Prizes

My poetry students are also expanding their sense of freedom on the page. One even articulated something at the core of my teaching in her own words: “The duality of the lines relates back to our class discussions of how behind every mark on the page, there has to be strong intent by the writer.” I say the core of my teaching–perhaps I mean the core of what I aspire to in my work on and off the page. Finding intent, of life and of each poem, that’s the mission.

Speaking of my poetry students, I am excited to be doing the work of expanding what a creative writing workshop can be. One resource that’s helped a lot was this essay by Beth Nguyen who breaks down the value of allowing a writer to speak during workshop. I tried and, well, wouldn’t you know, a writer smiled in workshop and all writers learned as well. It was something special to be a part of.

Lastly, check out this poem by Jessica Salfia made from the first lines of emails received during quarantine. That she was able to compose this by April of this year shows how quick we are to language, and how quick language is away from us.

José Angel Araguz, unsilencing in these times, ha

I read two fantastic poetry books this month. The first was Catrachos by Roy G. Guzmán, whose work always makes me feel awash in rich, vibrant language. Described as being “part immigration narrative, part elegy, and part queer coming-of-age story,” this stunning book blends pop culture and humor with cultural experience to provide a powerful and riveting collection of poems. I recently interviewed Guzmán about their new book, which will appear on the New Books in Poetry podcast soon.

Sarah J. Sloat’s Hotel Almighty is a gorgeous collection of erasure poetry, using the pages of Stephen King’s Misery.  Each of the pages combines evocative poetry with the visual treat of vibrant collage art. Some examples of her can be found at Tupelo Quarterly.

Andrea Blythe, Culture Consumption: October 2020

Vancouver poet jaye simpson’s book-length poetry debut is it was never going to be okay (Gibsons BC: Nightwood Editions, 2020), a collection of first-person lyric performance and prose poems on trauma, queer and Indigenous identity, love and sex, family, belonging and being. These poems are emotionally raw, unflinching, revealing and erotic, working up to an appreciation of the queer and Indigenous body and self, even as simpson’s narrator works through the trauma of foster care and intergenerational trauma. “i have swallowed / wildfire flame,” they write, as part of “her. (ii.),” “arnica cardifolia, / pleaded for her to leave these hollowing bones— / bit off more than i could chew [.]” Through their poems, simpson does far more than attempt to write themselves into being: to attempt to write themselves through and beyond the worst elements of trauma and into acknowledgement, as they write in “haunting (a poem in six parts”: “i was taught by wooden spoon / that children were seen & not heard / my pale flesh must’ve been reminder / that i was burden & beast / all in one.” This book works through some difficult material, clawing its way into being. “his sweat is / pabst blue wribbon / & dispensary dust,” they write, in “r e d,” “i feel the ridged scar on his right clavicle / trace the tattoo on the lower abdomen of this narrow-hipped boy / this closeness is as near / to being wanted / as i know [.]”

rob mclennan, jaye simpson, it was never going to be okay

I was saddened to hear the news earlier this week of the passing last Friday of David Cobb.

It’s fair to say that the overwhelming majority of haibun, haiku, tanka and renga poets in the UK may well not have become addicted to haikai forms without the enthusiasm and organisational ability of David Cobb. […]

Although many other people knew David better than I did, he and I were irregular correspondents for years and I was always delighted to see him. Aside from his writing, what I will remember most about David are his kindness, humility, good humour and that rare gift of being able to bring diverse people together in an inclusive and generous manner.

Here is one of David’s best-known haiku, remarkable still for its fresh, immediate synaesthesia:

a moment between
lighthouse flashes
cold smell of fish

A lesser poet than David might’ve chosen to omit ‘a moment’, which, on the face of it, appears superfluous, but that would’ve considerably weakened the power of this masterpiece. Whilst less is generally more in haiku, here a little bit more is definitely more: those two words enable a visual and sonic pause at the end of line one which enhances the surprise of the second line; and it also enables a subtle repetition in ‘cold’ of the ‘o’ sound in ‘moment’, which helps to knit the poem together. That lesser poet might also have been tempted to shove a definite article before ‘cold’, but, again, that would’ve been ruinous because that absence draws the maximum impact out of ‘cold’, and out of the monosyllabic incantation of the last line.

Matthew Paul, David Cobb, 1926-2020

As a project to occupy me, I decided to use each section in a multi-sectioned poem I wrote as inspiration to make a monoprint, then I figured I’d write the poem section on each print.

But my writing is terrible, some of the sections were really long which meant I’d get impatient with writing them out and inevitably make a mistake (would that be interesting, the cross-outs?), the ink obscured too many words (did I want them obscured? Would that be interesting?) so I decided to just write a fragment of the poem on each print. 

I’m happy with the prints but the words disappoint me. Wasn’t it enough that the poem inspiration was in the DNA of the visual piece? Or is it my poem? Is it the fragments I chose? Is it that words and text have, to my mind, a problematic relationship — reminiscent as they can be of sentimental cards or cartoons? What am I looking for in this pairing? Should I have left visual enough alone? 

I took a dive into what other people were up to with visual poetics. For example, I found an issue of Indianapolis Review that was devoted to visual poetics, plus some other journals like crtl+v often have visual poems of some sort, and Tupelo Quarterly which often has interesting work of various sorts. I was looking for examples that really gave me a zing, the sense of “yes, THIS is what it can be.” 

I found lots of fun stuff, but I’m not sure I have yet found what I’m looking for. There’s a lot of collage with ransom-note style pasted-on lines of text. Often the text is brief, aphoristic, or enigmatic, which is okay, I guess, but not greatly of interest to me. Some people are using full poems, which I appreciated. But then I have to ask what the visuals do for the poem — is there something expressed in the comparison/contrast? Or is it just fun? And after I while I got tired of the ransom-note look and crazy juxtaposition of images ripped out of magazines or old textbooks. There’s a lot of it going on. Often the text and what it conveys is less compelling than the mish-mosh of visual, and I guess, being a reader and writer, I want the text to have more heft, to be more “privileged,” if you will. 

There’s some work with embroidery that’s kind of interesting. Sometimes sheer excess is interesting, but it’s not something I can or want to emulate. A LOT of stuff is going on with erasure. Again, some of it is interesting. But it’s not erasure I’m looking for.

Marilyn McCabe, Shadoobee shattered shattered; or On Text and Image

My closest friend is always rebuking me for forgetting or misremembering stuff. I’m talking to him later on and I fully expect to be reminded of some detail from our shared past I’ve not remembered.

I don’t know about Eugene (He’s not called Eugene, by the way), but I pretty certain I’m missing a gene that allows me to remember things. I struggle to recall e.g. the scores of football matches from ten years ago (eg Ah, yeah that game where Eddie McGoldrick scored a glancing header in the 94th minute to clinch the game, etc*), or, for that matter, what i was going to say when is started this post. Did I come in here for my slippers? I don’t have slippers, so why would I do that?

I also struggle to remember poems or lines of poetry. I’d be dreadful if ever asked what’s your favourite poem, etc. I’m not saying the work of people that I’ve read is not memorable, I absolutely love it when I’m reading it and the sense of what I’m reading stays with me, but the actual lines are trickier. Even my own work is often a blur (and that’s possibly for the best). Is this the internet and the like making my short term memory rubbish? Who knows, but I’m pretty sure it was shocking before the internet became mainstream.

(Yes, I am old enough to remember this time…Flo is incredulous about this when I tell her. It wasn’t around when I was school or University for that matter, but I can remember using it for book orders after that when I worked at Bertram’s. Better stop with the brackets now)

Anyhoo, imagine my surprise this week when a poem came straight to mind, albeit not the actual lines immediately, but let’s not quibble.

Mat Riches, Theme From Magnetto

I have no actual memory
of its taste— rough bit of roast
meat from the beast’s mouth,
severed by my father with glee
and put into my own to suck
as I flailed in the white sack
of baptism clothes. What
possessed our kin to think
the gift of words, of brave
speech, might come out
of some magic rite of transfer
from this animal that once
rooted in the mud, grunting in-
decipherable syllables
all night?

Luisa A, Igloria, Tongue

With a potential Biden presidency, there has been much excited talk about dogs returning to the White House. The absolute last thing I care about is a presidential dog. A presidential dog does not interest me in the least. While I don’t understand them, I respect non-dog people for realizing that they are not dog people and not obtaining dogs. It’s also not lost on me that no one is ever excited about the prospect of a presidential cat. For some reason, cats are always under suspicion as being vaguely un-American. They do not care about your agenda and they don’t put up with your crap. With cats, the onus is on you to be curious, to reach out, to offer respect, to be patient. Cats don’t need humans in the same way as dogs do, and humans take deep offense to this. But earning the respect of cats yields great rewards. And cats are the purview of writers (who are also under constant suspicion of being vaguely un-American) perhaps because they are calm, they respect silence, naps, and boundaries, and they always have other options besides you. Presidents are mandated to have dogs. Everyone understands loyalty and happy tail-wagging. Cats make you work for it, and that does not provide the instant emotional crack that a dog does.

Kristen McHenry, Pajama Day, Judgey Bird, Dogs in the White House

moody lighting
who’s missing?
wake up!

it’s in my head
but it’s harder
to remember who I was

blindly sleepwalking
into the next episode
on the thousandth of March

Ama Bolton, ABCD November 2020

They say we’ve consumed the Kool-Aid of our tainted history.

That we’re caught in a matrix of endlessly repeating fake tricks.

That we’re abracadabraless when it comes to sprouting wings to soar towards new freedoms.

The list goes on and on.

Guess you can say blackbirds have at least shown us a little mercy by stopping at 12 + 1—a baker’s dozen of observations. Hot contemplation, fresh outta the oven.

Blackbirds don’t care how many ways we look at them. They’re soul shapers, song makers, dream shakers.

Blackbirds don’t need to color themselves anything other than what they are to be considered pure poetry.

Rich Ferguson, Blackbirds got 13 ways of looking at us

You probably know this quote from a Williams Carlos Williams poem: “It is difficult to get the news from poems yet men die miserably every day for lack of what is found there.” The word “news” suggests politics as well as missives from the mind and spirit. That’s great, but I also want it to include the wall-busting personal stuff sometimes derided as blabbing, tattling, chinwagging, and nosyparkering, all of which sometimes constitutes whistleblowing and the glue of sustaining friendships. My love of whispers comes from the poet in me, and also from my history in a messed-up family, where secrets festered. Secrets can poison your life. Luckily, they can also metamorphose into fierce literature.

Writing prompt: write a gossipy poem. Optionally, include a whisper, a fence, and a whistle.

This distinction is probably on my mind because I’m trying to dial down my obsessive consumption of political news. Election week sucked, as I’m guessing you noticed. Clicking vote counts every five minutes, I didn’t sleep, picked up a cold, endured a nosyparker nasopharyngeal swabbing, waited anxiously for a different kind of information, and ended Monday singing the “I don’t have Covid” song. At the same time, I started exchanging daily poems with a group founded by a long-distance friend. We don’t comment except for occasional appreciation and encouragement; we just write and share. It feels good to be drafting poems again–most of them pondering secrets–as well as to eavesdrop on others through the frank privacy of their poem drafts.

Lesley Wheeler, Gossip, news, & poems

Today is sort of a sad/glad day, dark and cold outside, with a wind advisory. When I checked the weather app on my phone, the expected precip was…ice. 

I congratulate all those people who put up their holiday decorations during our warm spell! I am pulling out interior decorations gradually, and I am glad I planted that tiny tree in a pot to decorate with blackberry lily seeds and leftover earrings. Every little bit helps. My chalkboard poem for today is “Sad/Glad,” about my children. When I walk into my daughter’s room now, I flip the light switch to turn on her string of tree lights left behind…

Sad/Glad

I walk into the rooms
of my children

who won’t be coming home
for the holidays.

I am glad
they are alive.

Kathleen Kirk, Sad/Glad

Normally, gift-giving feels like nothing but a chore, and I find myself resenting it—which is about the opposite of what gift-giving is supposed to be. This year, I’m enjoying thinking about what I can give each person I’m not going to see. I want them to have something that tells them I love them and am thinking about them and want to care for them. I want them to feel my presence, even though I’ll be far away.

In previous years, seeing anything smacking of Christmas before Thanksgiving set my teeth grinding, but this year, two weeks out from Thanksgiving, I’m ready to clear out the pumpkins and bring in greenery and lights and peppermint hot chocolate. You want to put your tree up right now? More power to you. Do whatever makes you feel good.

Rita Ott Ramstad, ‘Tis the season

Most birds possess the power of flight, something humans have longed for and envied forever, inventing angels and airplanes to mimic birds. Macdonald’s essay on swifts’ vesper flights describes how the birds rise in flocks up to the top of the convective boundary layer, where the wind flow’s determined not by the landscape but by “the movements of large-scale weather systems.” The Cornell Laboratory of Ornithology (one of my favorite informational sites!) suggests the swifts–not intellectually, but somehow as a group–orient themselves using the many-wrongs principle:

That is, they’re averaging all their individual assessments in order to reach the best navigational decision. If you‘re in a flock, decisions about what to do next are improved if you exchange information with those around you…Swifts have no voices, but…they can pay attention to what other swifts are doing.”

Helen Macdonald, Vesper Flights

We have voices; and yet we are not, in general, so good as the swifts at paying attention. Perhaps because there are too many voices shouting so loudly that the information gets confused. The sheep-following fashion of thinking goes with whoever’s most noisy, we follow; that way lies error. Paying attention and using a many-wrongs principle means we have to be willing to change course when new information arrives. It requires a certain humility that, let’s face it, most of us lack.

Ann E. Michael, Complicated distress

How do you wish to proceed? I know I don’t want to argue with the world. I want to learn to speak differently. I want to make a humble effort.

I want joy rather than complaint. There’s a poem by Dorothea Lasky that begins, “Some people don’t want to die / Because you can’t complain when you’re dead.” Which always makes me laugh. I’m not above complaining, loooord knows. But I’m going to redouble my efforts to just work harder, instead. Which is Joan Didion’s advice:

“Do not complain. Work harder. Spend more time alone.”

Which shouldn’t be so tricky this winter of our pandemic.

Shawna Lemay, This Winter of Our Pandemic

I think the thing that has surprised me most about my grief is how exhausting it is. There have been days when I felt I was coming to terms with it, when I understood its patterns, began to see shape in them, even coherence. I fooled myself into thinking we may even have come to some sort of understanding.

Those days are over now. The grief has no interest in coming to an understanding with me, no interest in letting me in on its plans, coupled to zero awareness of the damage it is doing to my sleep, my eating, my reading, not to mention my ability to concentrate and remember even the most rudimentary parts of my job.

I am officially exhausted. I wave the white flag. OK, grief, you win. What now? I cuddle the dog, get lost on a walk, phone the rat man, try to look at some James Schuyler, book the rat man, attempt a prayer, then collapse onto the sofa. I am trying to find holiness in all this mess, but it is hard, hard, hard. And it isn’t going away. It is hard.

Anthony Wilson, A holiness to exhaustion

There are days I feel broken. Worn so thin that I crumbled like an old rubber band someone dug out of the bottom of a junk drawer.

I always assumed the Beckett quote, “You must go on, I can’t go on, I’ll go on.” was from Waiting for Godot. I figured it was the clown with the bladder issues. Maybe the existential truth in this utterance requires no context at all. It is every story ever written.

This morning we were out of the house an hour later than usual. We caught the first blush of sunrise and passed four men out on their own morning run. We passed them twice actually, and the second time there was enough light to catch one of them smiling. He said, “God morgen!” a second time, and with such enthusiasm that my first thought was that he can’t possibly be Norwegian.

My second? That the other men in his company were psychiatric nurses from the nearby assisted living center.

I’m quite serious. This kind of extroverted greeting of a stranger is anti-social behavior in this region. And I began to brood on this, and then on my still-peculating fears for what is happening in my homeland. The hostility. The splintering of culture, the splintering of sub-cultures.

I keep thinking of colony collapse disorder. Adults losing the ability to navigate in the world.

This morning, counting on the exhalations: 1, 2, 3, 4. Relax the shoulders… I stopped to tie my laced that had worked loose, and I thought of Beckett and of recognizing the universal condition of human beings without cultural context.

Yes.

But there is also this:

“God morning!”
An unrestrained smile.

Context is always an understanding –
and always a speculation.

First thought is already
a rationalization
of the past.

Ren Powell, What it Means to Be in the Moment This Morning

Farewell, Western Black Rhino.
Horned and rather nearsighted,
I have relatives like that. Indeed,
If one looks at just the skull,
There is a human quality there.
The Western Black Rhino, extinct.
Birds warned them when danger approached,
But in the end the dangers outnumbered the birds.
What can you do?
I wonder now if got it lonely toward the end,
With the last of the great animals wandering about,
Seeking out their kinfolk,
Just wanting to see a friendly face.
And then the final one,
The last Western Black Rhino,
Perhaps knowing the poachers were out there,
A bird screeching at the sound of human footsteps,
And the last beautiful creature just waiting,
Not even caring anymore,
Preferring death to the endless loneliness.

James Lee Jobe, affirm life and honor interdependence

I wanted a cheap fix, a release, an anything
but the present thing, a veering from catastrophe

and know as the wind blows
there is no quick fix

but jeez, how little is granted, how stingy reality, 
how it seeps its goodness, 

what a frustrating partner is reason, seeming
other to my others, I tear my hair out

so I too began to dance, to shake off the tick
to make it make sense, I turned 

the snow globe on its head, I spun the disk, 
shook the paradigm, I know in my bones 

it is good nonetheless.

Jill Pearlman, Release

i write and it calls itself
nothing.
it’s not even an anagram
of a teapot pouring the steeped
and the stirred,
the dark or the golden.
i drink it with a cake stand;
outside the hail sheets down
and the leaves swirl autumn.
the blanket draws closer,
the blotting is done.

Jim Young, poetry they say it is