Poet Bloggers Revival Digest: Week 48

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

This week’s topics: the uses of poetry, the usefulness of external validation, the usefulness of blogging and other creative practices, the uselessness of consistency of style, the usefulness of having consistent topics to write around, the usefulness of group submittathons, the potential usefulness of self-doubt, the pleasures of community poetry festivals, the pleasures of Fatimah Asghar’s poetry, the pleasures of Christopher’s North’s poetry, the dubious utility of writing within constraints, the difficulty of assessing one’s own face, and the existential crisis of living and writing during a planet-wide extinction.

I like poems that do little useful things for you
like telling a friend you’ve been such a jerk,
keeping one company when bored in a long queue,
or teaching some manners to a misanthropic, rude clerk.
Magda Kapa, Once More, Thoughts on Poetry

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It is so very much easier to “act” like a poet or writer once you feel like a poet or writer — i.e. when you have the external validation of publication. I wish that wasn’t true, but it is. Of course, in some ways, it’s the easy way, the “lazy man’s way” of writing. The external validation is a shortcut in the path to self-esteem that’s large enough to incorporate a regular writing practice. Honestly — I’m beginning to think that I resisted setting up a regular writing practice — these morning writing sessions — because I didn’t feel like I deserved them. Sometimes I still don’t. But lately I tell that part of myself to fuck off and I go back to the page.
Sarah Kain Gutowski, Writing Practices, Processes, and Productivity

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Once I started blogging I discovered that–for whatever reason–I don’t get all uptight and perfection-y about writing blogposts. I just type stuff and go over it a couple times for errors and post. It reminds me of showing up to teach at the college–ready or not, here it is.
Bethany Reid, Why do I blog?

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This morning, I wrote a poem–and with that poem, I’ve written a poem every day in November. I’m not sure I’ve ever been successful at writing a poem a day for a month. There have been several Aprils that I have tried.

I’ve also been very active in my online journaling course which started Nov. 4, and in addition to writing a poem a day, I’ve done at least one sketch a day. I’ve been interested in how they feed each other.

The blogging feeds the work too.
Kristin Berkey-Abbott, From Blog Post to Sketch to Poem

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When I was working on my MFA, I had to compile a poetry manuscript for my final thesis. I gave my thesis advisor (who was usually very supportive) about 100 pages of poetry. She read around 40 pages of it, gave it back to me, and said, rather miffed, “I can’t read this! Make it sound like one person wrote the whole manuscript.”

I remember thinking, why? (I should have asked her why but was too flummoxed to say anything.) Why is it necessary for a book of poems to be uniform in voice, or for a writer to have a consistency of style? Perhaps for marketability—though poetry is so nonlucrative, marketability seems like an absurd concern.

Eventually some of the poems in this thesis manuscript wound up in other collections that were published. I edited my other collections of poetry, memoir, and fiction based on theme and intuition; they were more consistent than the one I gave my advisor back in 2005. I do consistently want my work to be sensual and honest, and for there to be a sense of humility in the narrative voice. Still, I don’t see the value in consistency, not in a poetry book. I like surprises when I read.
In Her Famous Fur-Lined Skirt / an interview with poet Colleen McKee (Bekah Steimel’s blog)

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Someone noted in a post I talked about writing “on a project” and “outside of a project,” and asked me to talk a little bit about writing on poetry projects. I don’t usually start a book project knowing in advance what the book is going to be about. Usually I start by getting interested in a certain topic, then more interested, then research that topic, writing a bunch of poems around it, and then later noticing that the poems seem to cluster around a certain subject, and exploring that topic in different ways. Usually I decide I have a book project when I get about fifty poems that hang together, and then I work on arranging, filling gaps, and maybe examining the subject in a different way or in different forms.

In fact, I can feel a little un-moored when I don’t have a subject or topic I’m working on, but it’s a necessary part of the process, because I don’t think anyone’s book should start out over-determined, and we need some creative open spaces – just like it’s good to get out of the house, even in this kind of cold and rainy season, to remind ourselves of the beauties and possibilities of the larger world. It’s especially important, when you’ve maybe reached the end of a large project, you’ve sort of exhausted a subject, and you want to start to explore again. It’s a good time to try a different type of poetry and to read more widely and even to use poetry prompts to get your brain working in a new way. I like to read novels and books of literary biography and writers’ letters in between projects, to give my mind something new to work on. Different voices that can help me develop my own writing in a different way – this seems especially true for me when I read books in translation. I hope this was helpful!
Jeannine Hall Gailey, A New Poem in Scoundrel Time, Talking About Poetry Projects, Giving Tuesday and Women-Run-or-Owned Lit Mags and Presses

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Today after a long hiatus, I submitted poems from a Submittathon at SSU. MP Carver set up for 9 a.m.-1 p.m. MP describes it as “a community event designed to get Salem State voices and creative works out into the publishing world. We’ll have people there to help first timers learn the ins and outs of submitting (including cover letters, finding journals, etc). For those with experience submitting work for publication, it’s a dedicated time to focus on sending out your work. There will be snacks and prizes as well!” Jill McDonough is the first poet I know to do this. We’re just following in her literary footsteps.

I was on the early side, but 12 people showed up with laptops and poems to send their poems into the world. This is the second time I’ve participated. The first time (in May, or was it last December?), I didn’t have anything to submit. I’m coming off of one of the worst writing droughts I’ve ever had. As someone who likes to grind it out, I think I’ve written maybe 20 poems in two years. My math may be off, however. When I look at my Poetry 2018 file, there are at least 50 poems. I have enough for a terrible manuscript. But I do have a few gems that need a little polish. Just getting them into the light is a big step.
January Gill O’Neil, Submittathon!

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I see a therapist from time to time and we had an hour this week in which we talked mostly about self-doubt. She rightly points out that I have a pretty good resume, career-wise; my loved ones, though afflicted sometimes with crises, are basically okay; that I would do well to ease up and slow down. I do not have to be so afraid, say, of never publishing a ms or writing a great poem or getting pats on the head from the prize-dispensers again. I agree with her and we talked about ways to balance my commitments better. I also argued, however, as I argue to myself sometimes, that self-doubt is a necessary part of being a decent artist, and maybe a decent human being. If you don’t stand back and say, “hey, maybe that writing sample wasn’t really good enough to ensure a grant win,” how do you grow? Isn’t a drive to keep upping the bar a necessary pressure? Shouldn’t I keep questioning myself and my work?

Well, I’m probably rationalizing, because that’s what people do. I doubt my self-doubt. Happy December, my writer friends. Put up those twinkly lights, and don’t mind the darkness encroaching.
Lesley Wheeler, Poetry and self-doubt, with footnotes

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I was going to tell you about going to North Carolina for the West End Poetry Festival–where the Carrboro Poets Council partners with the town to produce four days of reading upon reading upon reading, inclusive of all styles and topics. (A 12-person council that hangs out in someone’s living room once a month, and is trusted and given the resources to organize. Wouldn’t it be amazing if we could so easily facilitate the DC government’s relationship to poetry and the arts? Ahem.) I got to talk about poetry of food, I got to hear Ruth Awad, the Chief of Police volunteered to be on-site monitor so we could drink wine in the Century Center, and signs that would usually direct traffic instead directed “Slow Down for Poetry.” I was going to tell you about helping someone write an ode to barbecue, and watching that same gentleman (husband to our hosting Poets Council member) run the toy trains in the garage-loft where we’d been staying. I was going to tell you about buying hatch chiles and okra from the Farmer’s Market.
Sandra Beasley, Six Posts I Didn’t Write & Alex Guarnaschelli

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Among the things I adore is the beautiful physicality found in many of these poems, in which the body is sketched out in vivid detail — and not just the pretty bits, but the full reality of a body that makes up a human being. A body is where “mosquito bites bloom” or where exist “hairs crawling out.” In “Oil,” she writes, “The walk to school makes the oil pool on my forehead / a lake spilling under my armpits.” The specifics of existing in a human body in these poems feel as though the speaker is declaring their existence in a world that doesn’t always want them. It’s a lovely way to claim space.
Andrea Blythe, Book Love: If They Come for Us by Fatimah Asghar

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I really like the filmic quality of this, a film by Peter Greenaway…the draughtsman’s contract. The story of the bunch of tipsy chums stumbling around in the dark under a huge starlit sky, stumbling over silvered lawns, declaiming of bits of Shakespeare, the absurdity of it that gradually comes to its senses, and back to earth as The town below lolled in sodium. I love the way the declaiming poet comes back to the role of the measuring and sensible surveyor and the group of friends who became a chain of hands. The whole thing is witty, elegantly constructed, and ultimately life-affirming, lyrical and loving.
John Foggin, Well met; a Polished Gem: Christopher North

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I have had spasms of trying to write in form. I still shudder to remember the crap I’ve written. Sometimes my poems do, though, begin to take the form of a form: I’ve had poems that seem to take the shape of a sonnet, have had poems begin to exhibit a rhyme scheme, or that show the kind of obsession a form like a villanelle brings out. I could be more willing and try to be more able at encouraging/allowing that, and making the best of it. But to start out with the intention to write in a form? It makes me shudder.

As for the other tricks, the only thing I do — and this only when I haven’t been writing at all — is substitution. That is, I’ll take someone else’s poem, ideally someone whose work is different from mine, so I’m off-balance to begin with, and then word by word substitute my own words. So “…while I pondered weak and weary” becomes “after we made assumptions, burly and full of ourselves,” perhaps. I do this to shake up my work, or push me into process when I’ve lapsed into lassitude.

They do feel like tricks, these constraint games. And I feel like I can feel the artifice in the final product. Which for some people is the point. My own mind, imagination, abilities, proclivities, ignorances, prejudices, blindnesses, laziness, insistence on some kind of logic…well…etcetera…are constraint enough. Aren’t they?

I want the poem to become its own organic thing, growing in bumps and spurts to whatever lumpy, limpy, or suave form it fits itself. My job is to give it some oomph and stay out of the way.
Marilyn McCabe, The Name is Bond; or, Writing Within Constraints…or Not

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Editor John Wilson once told me that half my face was like that of the nice lady in line behind him at the post office, and the other half belonged to a poet or a murderer. Writers are murderers of a sort. But the look–that’s the work of The Wayward Eyebrow.
Marly Youmans, Book-and-birthday headshots…

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A loss of bees leads to a loss of any plant requiring bees for pollination. A loss of beetles and dragonflies and mayflies and even the much-maligned mosquito leads to birds that starve, not to mention amphibians, reptiles, and some omnivorous or insectivorous mammals–particularly vulnerable bat and marsupial populations. The bottom of the food chain matters more than most human beings ever stop to consider.

One part of this article mentions the important, even crucial, role of people who study nature without having gotten degrees…the so-called amateur botanists, lepidopterists, and hemiptera observers. Another reason I find this article so interesting has to do with how Jarvis employs thoughtful, reflective moments in the piece, while maintaining a journalistic stance:

We’ve begun to talk about living in the Anthropocene, a world shaped by humans. But E.O. Wilson, the naturalist and prophet of environmental degradation, has suggested another name: the Eremocine, the age of loneliness.

Wilson began his career as a taxonomic entomologist, studying ants. Insects — about as far as you can get from charismatic megafauna — are not what we’re usually imagining when we talk about biodiversity. Yet they are, in Wilson’s words, “the little things that run the natural world.” He means it literally. Insects are a case study in the invisible importance of the common.

Maybe it’s my personal inclination towards the natural observation, but I find some resonance here. It’s what I tend to do when I write poems–to celebrate the common, or at any rate to notice it. I notice, too, the diminishment.

Some readers have told me my poems feel sorrowful, and maybe that sense of diminishment hunkers behind even the more celebratory poems I write. That’s an idea worth my consideration as I revise my work. Maybe Diminishment should be the title of my next collection.

Anyway–read Jarvis’ article. You will learn much. Even if you’re one of those folks who “hates bugs.”
Ann E. Michael, Diminishment

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 40

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

I sense a bit of exhaustion in the poetry blogosphere this week, as witnessed by the relative paucity of posts. Among those who did blog, there’s a certain introspection as political outrage gives way to resolve and a quest for pursuits that truly sustain us. Such as poetry, yes, but also photography, gardening, and other “useless things,” to quote Claudia Serea in her ongoing blogging collaboration with photographer Maria Haro, Twoism. “Around me, the world tilts, rocks, spills, / burns, crashes, cooks, / dies, laughs, cries. // And I plant thunderseeds…”

I have a deep weariness. It’s interesting to pay attention to my levels of weariness, which are often only somewhat connected to how much sleep I’m getting. This week’s weariness has to do with last week’s news, and the realization that this level of bad news of our incivility and worse is the new normal–or are we just back to what was always normal? This week’s weariness has to do with the fact that we’re at week 1 of our new quarter, which means longer hours at work. This week’s weariness has to do with the home repairs, which are progressing, but we’re still far from done.

I’m so weary that I can’t even envision what would fill my well. I want to write, but my brain feels dehydrated. It’s been awhile since I had a good meal, but nothing sounds appetizing. I’d like to sleep, but in a room that doesn’t also contain a refrigerator and other items stored there for a home remodel.

I realize that I might sound like I’m depressed, but I’m not depressed so much as I am just bone tired.
Kristin Berkey-Abbott, Weariness update

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Trying to teach Robert Hayden on Friday, I had such a mother of a hot flash that my glasses fogged up. I’m not sure my students even noticed. We were discussing Hayden’s complicated elegy for Malcolm X, a small star releasing its own fire, and the seminar is full of canny astronomers with their own strong opinions and expertise. On the whole, it felt like a good space in which to vent the engines–for them, I hope, as well as for me.

I probably won’t blow–my inner Scotty has always been an alarmist–but the past few weeks have certainly been a test. I feel terrible, but not surprised, that after his public temper tantrum of privilege challenged, Kavanaugh is about to join the nation’s highest court. I feel terrible, but not surprised, at how some of my students feel unheard and disrespected on my own campus, which continues to be roiled by arguments over its racist history. And I feel sick about irreparable harms to immigrant children, voting rights, and the more-than-human world that sustains us despite our poisonings. The damage feels so massive–and so gleefully perpetrated–that it’s hard to know where to stand while voicing your own small resistance.

Literature sustains me more than anything else–reading it, teaching it, editing it. Less so writing it, in October, but I’ll get back to drafting someday, and in the meantime I’m trying to keep serving the writing by handling proofs and edits of articles, interviews, and poems in a timely way, plus keeping work under submission. My inner Mr. Spock, that is, keeps the priorities rational and the ship on course, knowing I’m precariously low on fuel. AWP labors dominate this weekend, and I’ll be attending my last AWP board meeting as a trustee next weekend (San Antonio), although I’m on the search committee for a new executive director and that work will continue for months yet. My work for the AWP has felt useful and important, but I’m ready to turn to other modes of literary service. Beth Staples has now appointed me Poetry Editor of Shenandoah, which honestly is a role I don’t feel quite deserving of yet, and hence I’ve been shy about announcing–but I’m working hard and learning a ton from her and also from the great teacher that is the submissions pile, so full speed ahead, I guess, on this little enterprise through which maybe I can help do some good.
Lesley Wheeler, She cannae take any more, cap’n

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I had some good news this week about my PR for Poets book but the buzz of the good news was hard to celebrate with all the terrible things happening in the news and the slowness of my recovery (always slow with MS, way slower than I like.) Then I got my royalty statement from Moon City Books for Field Guide to the End of the World (thanks, everyone who taught and bought the book) which was a nice boost too. Then I did some research on the new MS drug they want to put me on – Aubagio and that was terrifying.

And I watched five minutes of news recaps which was equally horrifying. It’s not good for the immune system to dwell on the absolutely horrifying things happening in our country (and I went on a little unfriending spree on Facebook because I’m not actually going to be friends with anyone who says hateful things about rape victims and positive things about rapists. (Remember who voted how in 2020, kids! Remember who laughed at Dr. Ford’s pain at Trump’s rally and fist-bumped getting an attempted rapist onto the Supreme Court.) I wrote a really angry poem but I realized I already have a book about what being a rape victim – besides the horrifying physical pain, there’s the mental and psychological damage that lasts…forever – Becoming the Villainess. It’s about how women in every society from ancient Greece to modern America can only choose between the roles of victim (pretty princess) and the villainess (evil witch) and that the rage and brokenness that results from sexual assault has repercussions.

By the way, you will never be “nice” enough to protect yourself from the men that want to violate you without any consequences. So, maybe stop being nice. The men in charge right now definitely don’t deserve nice. Anyone who victim-blames doesn’t deserve nice, either. My nice energy will be reserved for the victims, not the perpetrators.

Friday was a rainfest so we retreated to our local gardening center (Mobak’s) to celebrate the Harvest Festival and also goof around their Harvest Festival photo ops. I listened to the rain on the greenhouse roof and looked at flowers and then we came home and planted 40 daffodil and tulips and hyacinths bulbs. A sign of hope. I thought, we can make the world a slightly better place – we can donate money and vote and be kind to those that deserve it and we can plant growing things and adopt animals and believe women and we can meet and talk about ways to make things better. It is awfully hard to not lose hope. I am a creative type so doing creative things and being out with plants is a way for me to not lose my mind. Go do something that brings you joy and then take a step, then another step. I am counting my steps.
Jeannine Hall Gailey, A Rough Week, Harvest Festivals and Pumpkin Patches, and Poets Managing Good and Bad News

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Just a short post today to link to a poem I read this morning, “Sunday Morning in the Church of Air” by Catherine Abbey Hodges in Swwim Lit Mag. It’s a beautiful poem that felt like a breath of fresh air after way too many days in pollution. Lately, I feel like I’m surrounded by toxic energy because of the dirty politics in our country, the finger-pointing, the screaming, the anger. I feel like so many are filled with hate and retribution and I don’t think they realize how it’s poisoning them and our country. Social Media has given everyone a voice and most of those voices, lately, are used to tear down, bully, ridicule. The intolerance is crushing.

I’m taking steps to severely limit toxic, angry voices in my online and television time. Yes, there are reasons to be angry but not.all.the.time. Don’t let it take over your life. It’s bad mental health. And, remember, everyone is entitled to their opinions and no one is right all the time.

Thank goodness for Poets who write about the beautiful in life, the good, the light. I’ll always choose the road to light over darkness. I will not allow anger, violence, and hate to change who I am. I have that power and so do you.

And none of this depends

on me, though I see now that somehow

I depend on it—the river, the stooped

heron and the one rising on great wings

above its reflection

**Steps off soap box.*

Have a beautiful day, friends.
Charlotte Hamrick, On Beauty and Poison

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I’ve been waking up with my jaw already clenched, too many days in a row now, in dread of each day’s news. Sometimes really fantastic things happen–the MacArthur “genius” grant recipients for this year include Natalie Diaz and Kelly Link–and sometimes someone shows me a video of a basket of baby sloths or a baby flamingo taking it’s first steps, and sometimes it’s just enough to be in the same space as a friend, laughing. Sometimes solace lasts for the length of a poem. But it’s all a bulwark against the sense that our checks and balances no longer operate as they should. Perhaps they never did. The calls of “Remember all this on November 6!” ring a bit hollow when you’re a resident of Washington, D.C.–almost 700,000 of us, and not one seat in the Senate. Imagine how differently the last few weeks might have gone, had we had voting representation.

Teju Cole visited American University this past week. My undergraduate students for “Writers in Print and Person” read Blind Spot, photographs juxtaposed with flash nonfiction texts. The book is physically gorgeous as an artifact and gave us means to discuss Roland Barthes’ Camera Lucida, “studium” and “punctum.” Barthes developed this vocabulary to talk primarily about portraiture; in moving the approach to landscape photography, which Cole does–and largely devoid of people’s faces–I’d argue that the explicit text teases a “punctum” to the surface that would otherwise stay invisible, but inherent to the impulse of the photographer. His lecture did the thing great art does, selfishly, which was that it made me want to hole up and think and write.
Sandra Beasley, Holding Space

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Somewhere recently–was it the Sunday New York Times?–I read an opinion essay about how recent surveys of US citizens indicate that we have fewer hobbies than we have had in years past. The columnist wondered whether that lack is due to a zeal to be the best at whatever we engage in–the best jogger we can be, the most avid cyclist, the best collector, knitter, paper-crafter, woodworker, violinist, what-have-you. She suggested we’ve somehow lost the joys of being hobbyists: amateurs who do or create something because it is fun or relaxing, or because trying to learn a new skill makes us feel good. A true hobby is something we don’t have to be perfect at, because that is not the point.

As my students wrestle with the tasks of college and their concerns about their futures, the concept of vocation arises often. What to do with a life? Earn enough money to live reasonably comfortably, even if the job is not a passion? What if it’s not even satisfying? Should people choose a bearable career and find enjoyment in avocations? Or persist at what they love even if society doesn’t always reward the path they’ve chosen? Or–the options are legion.

~

I believe in vocation as passion, and I also practice hobbies. My career is in higher education, and I enjoy and learn from my job. My vocation is writing, particularly writing poetry; my passion lies in that direction more than any other, but poetry has not been a career path in my case.

~

My hobbies have evolved over the years. For decades, gardening has kept me happily occupied out of doors–but I have no need to become a Master Gardener, and my gardens are often minor failures in one respect or another. The garden, however, soothes me, distracts me from anxieties, helps me to become a better observer, teaches me much. When learning about plants, I got interested in botany and wild flower identification, so I am a more informed hiker and nature-saunterer than I used to be.

Photography’s also a hobby I pursue, an interest of mine since my late teen years (back before digital). The view through the frame has always intrigued me, as well as the opportunities that different lens lengths offer the photographer as to framing and focus. I especially enjoy macro lenses. It’s fun to zoom in closely on insects, flowers, and small areas of everyday objects. Photography encourages different types of observation.
Ann E. Michael, Vocation, avocation

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Let’s invent useless things,
the ultimate freedom.

I’ll make marble eggs,
headless dolls,
and stringless violins.

I’ll write poems
that don’t put food on the table
with words no one understands:

paperheart,
mailpill,
painstain,
bloodfence.
Claudia Serea, Useless things

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Forty years ago I proposed a research project to answer this question: Do chipmunks follow set paths as they go about their nut gathering? This was high school senior year research bio class. I have no recollection of trying to justify the significance of that research question. I have no idea how I’d answer that. But Monsieurs Rehm and Cederstrom (R.I.P., lovely man) okayed the project.

I then spent very little time actually gathering data — which required sitting endlessly, motionlessly, in the park noting the movements of chipmunks I could in no way tell apart. I then, unsurprisingly with such little data, wrote a paper concluding there were no set patterns.

Now I find myself sitting in this chair (with the pleasure of having little else to do at the moment) almost every morning for the past two weeks out in this yard, with, as it happens, this chipmunk going about its business. From the hole in the brush behind me, it generally moves roughly south, pauses at a chair in front of the house, then disappears into the brush in front of that. Eventually, it returns, roughly from that direction, crosses the yard generally from the south, sometimes right along the edge of the house, or at least within five feet of it. It has many other paths, I know, as I’ve seen it rustling around across the road, or slipping into the outdoor shower and into the hole under that. But its return to this particular hole seems to follow a particular path. So lo and behold, I do think it has a general set pattern. Hunh.

I don’t know that I have much point here. Except that, you know, isn’t life funny?

In spite of my lazy approach to gathering data for that project, I have always been an observer. I had wanted to be a detective when I was a kid. Then a research biologist. Then I studied anthropology. Then public policy, which in a way is, if policy is well thought out, a combination of all those things. Then I studied poetry, which also, at least the poetry I write, is a combination of all those things: whodunit, and why, and what do we as a culture understand about it, how do we talk about it, and what can we make of it all.

If the chipmunk has a pattern then, as a predator, I could catch it. Or as a rival for its acorns, I could follow the chipmunk to its source and plunder. Or I can just notice. Maybe that’s what my role is here.

If human beings could be said to have some kind of unique role in life, maybe this is all it is — observe, note patterns, make art. And try not to kill too many things while we’re here.
Marilyn McCabe, No Straight Lines; or, What’s a Human For?

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Maybe there’s been so much going on that when it stops you’re mildly disorientated. That must be it. I remind myself of the episode in John Hillaby’s book Journey through Britain. In the early sixties he walked from Land’s End to John o’ Groats, using, as far as was feasible, only footpaths and drovers’ roads and bridleways. Arriving in Bristol tired and jaded he seeks the advice of a boxing trainer who examines his legs, looks up, and says: what you need, sir, is exercise. Which turns out to be sound advice. When in doubt, just do it. So I shall.

I have no excuse; last Monday was a day I’d looked forward to for months. The guest poets at Puzzle Poets Live were two of my inspirations. Kim Moore and Clare Shaw. What a double bill! Poets whose reading makes you more alive, who electrify and excite you. One of the folk in the audience was David Spencer (cobweb guest in July) who had cycled from Huddersfield to Sowerby Bridge to be there. Valley to valley over a big Pennine hill with the M62 at its top. And then had to cycle back. That’s how good they are. It was a brilliant night. Along with their new work, Kim read Train from Barrow to Sheffield and In that year ; Clare read This baby and I do not believe in silence, and I could not have been happier. This week I found a warm review of my pamphlet Advice to a traveller in Indigo Dreams’ Reach Poetry 241 (thank you, Lynn Woollacott, and then…..

I’ve had a summer of doing stuff, pretty well non-stop; brickwork, woodwork, paintwork, garden work. I looked forward to it all being done, and then it was and suddenly I’d nothing to do. Except that I have…a review that should have been sent off months ago and which I keep rewriting and scrapping; feedback on lots of poems for two special friends. Why don’t I just do it? I’ve a horror of not being busy. I always have. It’s that Conradian thing, the need to work and work to avoid reality, or something. I dreaded retirement …and it was destabilising when it came, that lack of imposed obligations. What I’m not so good at is dealing with self-imposed obligations. A bit like the feeling that most teachers know, the Sunday afternoon feeling, the knowledge that there’s a pile of marking that must be done for Monday, that’s grown because you didn’t do it when you could have done, because you’ve put it off.

What saved me was finding poetry and writing. I have a fear of unemployment and silence. Like Clare Shaw, I do not believe in silence. I cannot sit still. I cannot be quiet.
John Foggin, The return of Polished Gems Revisited : with Laura Potts

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 38

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

My Poetry Bloggers feed was unusually full this week, thanks to the reemergence of several of the more infrequent bloggers (who in my opinion have nothing to be ashamed about; some of my favorite bloggers only post once in a blue moon). Not surprisingly, one of the more popular topics was blogging itself — is it merely a form of “obliterature”? (See Lesley Wheeler’s post.) People also wrote about sickness and recovery, new publications, travel, the changing seasons… and don’t miss Jayne Stanton’s account of the Forward Prizes reading! So much good stuff this week. Enjoy.

Last year around this time I was also in the hospital for similar symptoms, and they diagnosed me with MS. This year they did tons of tests, and now they know I have MS, but not why I have the symptoms I do or how to control them. This is very frightening, of course. But I didn’t give up, and I didn’t let the doctors give up. A lot of them shrugged their shoulders at me over the past month – infuriating when you’re looking for help – but eventually I actually got help. So one lesson: Do not give up and do not stop asking for help. Second lesson: Remind yourself (and your body) of the good things in life, the beauty, the reasons you want to keep being alive. […]

This was reminding me of the writing life too. The writing life can feel like these awful stretches of rejection, of non-recognition, of not getting the grants or jobs you feel you’ve got a shot at. Why are you even writing when it feels like no one cares or pays attention? The same frustration you can feel in the doctor’s office in a sea of shrugs. Why do we do this? Why do we bother? But then an editor will call with an acceptance and some perceptive advice or you’ll get someone, somewhere who cares and shows it and it will make your month. It can feel like a terrible slog, most of the time, reading and writing and practicing in a vacuum. I think a lot of women writers, especially, tend to over-give and over-volunteer and forget to take time for themselves (I managed to get myself in some trouble this month because while I was in the hospital, I had an editing project and a contest I’d promised to judge – and I was absolutely out of my mind – intractable brain problems tend to do this – and not able to do jack. Sometimes that happens. We have to forgive ourselves and also, maybe don’t commit to too many projects in the first place.) There was a conversation today on Twitter about how many male “geniuses” are only where they are because of the support of the women around them – unpaid editors, caretakers, supporters. Treat yourself like your time is limited. Because, not to be too grave here, but it is.

So I have to think of some of the same “survival” skills that apply to recovering from illness and apply them to the writing life. Say you haven’t been writing, you haven’t been feeling like you’re doing enough to promote your work, you don’t feel like you have a support network for your writing, etc. Be kind to yourself – relax and give yourself downtime. Be kind to your support system. Subscribe to journals that support you. Write a thank-you note. Read a book just for fun, not for self-improvement or critique, but fun. And if a bunch of editors are virtually shrugging their shoulders at your work, just like with doctors, keep going until you find the editor that gets you. Remind yourself why you are writing in the first place, spend time with what is beautiful, and try to give yourself some joy.
Jeannine Hall Gailey, In the Recovery Zone, and How to Avoid Despair with Illness (and Writing)

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The world is never, really quiet. There are waves in the darkness that beat a rhythm through our very cells. Dance.
Ren Powell, September 18

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I’m sitting at my favorite spot in Starbucks trying to get organized. Not writing. But today after so many months I decided to upload something new on the blog. I think I’m officially switching to a Website with the option of blogging. It’s clear that I don’t have the time or energy to keep it up like I should. Time to move forward. There are so many things on my radar, so many changes I won’t go through right now. I’ll certainly post now and then. I have to update my fall schedule, dates, etc.

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Today is the equinox. Summer is over. Could not be sadder about that.

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OK a few things. We adopted a puppy. I’m up for tenure. Some festival changes happening. And next year I’m moving to Mississippi for a year with the kids and said puppy. All of these items require their own blog post.

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Did I mention Rewilding is available for preorder?
January Gill O’Neil, Rewilding is here!

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If you pre-order a copy of my new collection, Midnight in a Perfect World, by Nov. 1, you will be entered to win a free poetry manuscript or chapbook consultation/evaluation by me. The winner can transfer or donate the evaluation to another person if so desired. I have helped many poets organize and sequence their manuscripts, along with critiquing individual poems, creating titles and more. Just call me the “manuscript whisperer.”

Pre-order and enter to win at the Sibling Rivalry Press website at this link.
Collin Kelley, Win a manuscript evaluation by pre-ordering “Midnight in a Perfect World”

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A. and I spent two really quick days (really more like one) in Venice, Italy and then spent most of today traveling to the medieval city of Erice, which is in Sicily.

So far: Italian food is just as amazing as everyone believes, in Europe a glass of water is still more difficult to come by than alcohol, Alitalia DID lose my luggage and I’ve yet to hear what happened to it, AND I’ve written two poems on two different flights (and they might be crap poems, but at least I was writing).

Also, the view from the hotel is fucking amazing. And no, my photos don’t really do it justice.

Also also, I’m running on very little sleep.
Sarah Kain Gutowski, A Quick Post from the Sabbatical I Stole (Kind Of) By Running Away to Sicily

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In high school, I listened to “American Tune” over and over again–hitting the rewind button on my Walkman–but I never expected to hear Paul Simon sing it live. When he began, “Many’s the time I’ve been mistaken, / and many times confused…” we had already been on our feet for the encore, and with eyes closed I didn’t realize everyone around us had sat down. My husband had to tug on the back of my shirt. I’d be tempted to use a line from that song as an epigraph–for this very poetry collection in hand–but Stephen King got there first; he quotes “American Tune” at a section break in The Stand. […]

Early this morning, I was thinking about how the utility of blogging has changed a little bit since we first began this process. If I want to tell you about my upcoming reading with Emily Jungmin Yoon and Lindsay Bernal […] or share my excitement about receiving a 2018 “Best of the Net” nomination from Split This Rock for “Customer Service Is,” I’ll probably use other forms of social media to do so. If I want to blunder my way through a draft of a poem or essay, I’ll keep it offline to preserve the publishing options. So this space becomes a space for…what, exactly? But this blog can host thoughts that fill larger spaces than 200-odd characters or a link + hashtag, for sure. Maybe open-ended grist for discussion, like Iggy Pop (circa 1980) telling Tom Snyder about the difference between “Dionysian” and “Apollonian” art. I got to this snippet via thinking about Paul Simon–who a commenter argued was of the “Apollonian” school. I suspect I am too, though I’d like to think I’m capable of raising a little hell on stage now and again.
Sandra Beasley, Still Digging After All These Years

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–Every morning as I blog, I wonder if I should be doing a different kind of writing. But I also wonder if I’m creating and perfecting this form of writing–and will anyone care? I think of the journals of Dorothy Wordsworth, and I think she’d be a blogger, if she was living today–although her poverty might have kept her offline.

–I am trying to think about my successes, not my failures. In the last few weeks, I could have sent out more of my creative work. But let me think about the fact that I’ve done some actual writing.

–I’m listening to the On Point interview with Ethan Hawke. He talked about working on Boyhood, the movie that was made over 12 years. He talks about it being a movie that was made without the element of having to sell it. He says it was like being in your room painting watercolors with your friends or making music on Christmas Eve. I love that way of talking about making art.
Kristin Berkey-Abbott, Friday Fragments: Creativity, Anxiety, Travel, and Possessions

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I just received the proof from Lulu of my first self-published book, titled STONE empty chair. It’s a collection of my best haiku, starting about ten years ago and ending in August, 2018.

It’s a little book full of little poems – just 6.5 x 4.5, with 50-odd haiku, in four chapters: Winter, Spring, Summer and Fall. It would make a nice gift, and fits easily into a Christmas stocking or a 7×10 inch envelop for mailing to a friend.

I took the cover photo in my backyard, near the little pond I installed in July with the help of my youngest son. The stone is Oregon’s state rock, the thunder egg. What a great name for a rock! The chair is one I made from twigs, and it was featured in my video The Fairy House. In fact, you can see me making it in the video.
Erica Goss, STONE, empty chair: Erica’s new haiku collection

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In August I pray to lesser gods,
gods drier and without Douglas Fir
gods wafting burnt laminate
gods shriveling before the crunch
church of pinecones

thunderless gods
sniffing, boneless gods with dry-needle teeth
and sweet-sugar nature—
Fall Poem / an interview with poet Rachel Warren (Bekah Steimel’s blog)

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I was looking forward to some poet-spotting and saying hi to one or two familiar faces, maybe. Instead, I promptly went into introvert mode: a seat in the cafe with my nose in a book (and a novel, at that!) beforehand, an ice cream taken back to my seat during the interval and a prompt departure afterwards for the Tube at Waterloo (walking past the book stall without a sideways glance). What’s wrong with me?!

Anyway, I’m glad I went. I enjoyed my first Forward Prizes evening very much. It was a re-connection with the buzz that exists around poetry in a building full of poets and poetry lovers.

All fifteen shortlistees were there except for Jorie Graham (who sent a letter, and a recorded message and poem reading). I really hope I get the opportunity to hear her read in person, some day.

There was no second-guessing the winner of the single poem, but I thought Fiona Benson’s ‘Ruins’ was a close contender; beautifully read, too. I’d like to read more of her work (I gather there’s a forthcoming collection). I’m delighted for Liz Berry, though. Incidentally, ‘The Republic of Motherhood’ is the subject of one Jen Campbell’s Dissect a Poem videos. You can read it here.

I really enjoyed the readings by shortlistees for Best First Collection; such a range of voices and subjects. Kaveh Akbar was the audience’s darling but the award went to Phoebe Power for her Shrines of Upper Austria (Carcanet). Heritage was a theme common to several of the shortlisted works. I really enjoyed Shivanee Ramlochan’s readings from Everyone knows I’m a Haunting and pleased to see a Peepal Tree Press poet alongside those published by the Big Guns.

After the interval there followed strong readings from the Best Collection shortlistees. I particularly warmed to JO Morgan’s voices from Assurances (Cape) and hope to hear him read again, somewhere. Danez Smith stole the show, though, and the prize announcement was hugely popular with the audience.
Jayne Stanton, The Forward Prizes for Poetry

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What is the least helpful advice you received?

“Write what you know.”
Terrible.
It should be:
Write and when you discover you don’t know what you are writing about—research, learn and then write some more.
You don’t know, what you don’t know and you are always learning so why would you stick to writing what you know?

Writing is always a journey and journeys are supposed to be meaningful and that means you are learning as you journey; sharing and teaching as you write.
As you experience life of course write about that, but let it lead you to new paths and new discoveries.

“Find your voice” is another bit of supposedly helpful advice that is also problematic.
You already have a voice and while you absolutely need to explore and discover as much about yourself and therefore develop your voice, it is already a part of you.
It’s the voice that is insisting you write.

You can write in different voices, you can be a mimic, you can stretch and should stretch until you are uncomfortable and then stretch some more.
The true voice that you already have will tell you what is b.s. and what is honest if you remember to listen.

If you read and listen more than you write you’ll have an authentic voice– nothing to ‘find’, it’s already within.
Poet Chris Jarmick: Thoughts on Writing and Dealing with Dark Times (Lana Ayers’ blog)

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Then there are the times when a poem comes like thunder after lightning. All you can do, then, is hang on and try to get the words down fast enough before the vibrations fade.

I’ve had a few poems come like that, over the years, in a single stream-of-consciousness burst that sends words pouring onto the paper. But those have been few, far between, and always welcomed over the drudgery of pushing limp lines around on a poem that refuses to gel.

The arrival of the Leopard Lady, however, was something different.

I was working in my journal one night when this voice began, with no prodding or priming or expectation. It was strong and sure, a voice with Appalachian cadences, and it was dictating lines, whole poems. I scribbled as fast as I could for as long as she spoke, 13 pages that included three poems almost whole and large chunks of several more. But fascinating as this visitation was, I also had a strong impulse to turn it off, turn it away. She was a biracial woman from an era before mine, and the carnival she called home was entirely alien. And so I focused on other projects, working on novels and other kinds of poems, and I let the Leopard Lady rest. Or tried to. But the poems kept coming, slowly building a life story.
When the Voice Arrives: Making of the Leopard Lady – guest blog post by Valerie Nieman (Trish Hopkinson’s blog)

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I don’t do radio nowadays. The old passion that would have me winding the aerial up its 40’ mast in a force 9 gale so that I could catch the Australians between 05.00 and 07.00 has been necessarily stilled. No more chasing the fluctuating ionospheric conditions to bag a 5-second contact with that lone operator on some lump of rock in the Indian Ocean. No more regular ‘skeds’ with the guy in San Antonio who sounded just like Jack Nicholson; or the Russian doctor in a desolate oil pipeline outpost in Northern Siberia who wanted to learn English; or the Australian fence-mender 50 k. from the nearest shop and bar; or, as once, the panicky weekend sailor whose yacht was shipping water fast off Mauritius on whose behalf I had to phone the Grand Bay coastguard. It was always the romance of contact with the beleaguered or self-exiled individuals in exotic locations, the two of us fighting against fading signals or interference from the hundreds of other stations out there on the same wavelength wanting to touch base with the rare DX station with whom you alone are in contact. Those few minutes of shared alternative culture across thousands of miles of earth and sky are worth all the solitary hours of static crackle and atmospheric hiss.

There aren’t very many poems about people talking into two-way radios. In fact, I’ve never come across any! So for the time being this is it. So whether this poem is a work of quality is hardly the issue. That anyone should want to produce a piece about people talking into a radio microphone should be enough to turn our heads…
Dick Jones, WAVELENGTHS.

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In past decades, let’s say my pre-teen years through my forties, I often read more than 50 novels in a year. Then, in my fifties I started reading poetry in earnest. A poetry lover since childhood, I was less likely to buy books of poetry than to buy novels; less likely to read all the way through a book of poetry than a novel; less likely to have poetry friends to talk with about the poetry I was reading. Then, I started writing poems myself. Now I spend most of my reading time with books of poetry. […]

I read more slowly than I used to and this means that, though I spend about the same amount of time reading as I used to (given the vagaries of other obligations, for example, work, running a press, writing, volunteering) but digest fewer words. This is partly due to changes in vision which are common at my age, partly due to the slowing-down effect that reading poetry has on its readers, partly due to the distracting effect of screen reading and social media, but in some part, I’m not sure why my appetite is so much less voracious for novels than it used to be. When it comes to novels, I buy few, but often pick up 1/2 dozen at a time from the library. Why? Because these days, I have a new novel reading habit: I often start novels but don’t finish them. In fact, I often go 30-50 pages in and decide “no, I don’t want to read this.” Let’s just call it, “time is running out” for anything that doesn’t enlighten me or bring me pleasure.
Risa Denenberg, Sunday Morning Muse with an Embarrassment of Novel Riches

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For about 20 years I kept this one poem in my wallet. Then it lived on a bulletin board in my office and recently, it migrated to the kitchen. I like that it’s been with me since December 1994. I think this was my first year subscribing to the New Yorker Magazine. I had just let my apartment in Harvard Square for the wilds of the Pacific Northwest for graduate school. I missed the grit of the Boston accent, the cold stare of strangers, the bookstores. This poem spoke to me — my decade plus of living faraway. More than two years away from the US, I entered New York via JFK only to have the customs officer question if I was making up the country of Niger.

Seamus Heaney never included this (as far as I know) in any of his books. I don’t know why but I suspect that perhaps it was too internal, so common and uncommon at once. See what you think.

Far Away

When I answered that I came from “far away”
The policeman at the roadblock snapped “where’s that”?
He’d only half heard what I said and thought
It was the name of some place up the country.

And now it is both where I have been living
And where I left — a distance still to go
Like starlight that is light years on the go
From faraway and takes light years returning.

~Seamus Heaney, The New Yorker, December 26, 1994
Susan Rich, Such a Good Mix: The Poetry of Travel and the Travel of Poetry

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“Obliterature draws attention to the gendered formation of literary value while also denoting the casual, minor, repurposed, and ephemeral writing expelled from literary criticism’s traditional purview. Such writing might include letters to the editor, junk mail, diary entries and their twenty-first-century digital descendants: blog entries, comments on a newspaper and magazine site, Instagram posts, LiveJournals, Snapchats, Tumblrs, or tweets. Obliterature, fittingly enough, is also popular parlance for a ‘letter or email written while drunk off your ass’…The concept, as we develop it in this article, explains the literary phenomenon of not being fully in control of one’s words and the labor phenomenon of not being fully in control of one’s work.”

– from “Obliterature: Towards an Amateur Criticism” by Melanie Micir and Aarthi Vadde in the September 2018 Modernism/ modernity, a special issue on “weak theory”

None of us knows if our writing careers will be of much interest to literary critics in the future–or whether there will continue to be literary critics, or a future–but I have to add a few more categories of ephemeral writing that consume a LOT of my time these days: comments on student poems, response papers, quizzes, and essays; assignment sheets; teaching notes; course descriptions; recommendation letters; private editorial comments on Submittable; and the smartphone text-i-verse with its debris of emoticons. I’ve also been a lead drafter on a surprising number of university-related guidelines and reports, having been here for 24 years and generally preferring to do the writing portion of committee work over other tasks.

So I like this term “obliterature” a lot, although it’s from an article I’ve so far only read a portion of, because I’m tight on time but got snagged by the title as I was sorting mail. I recognize obliterature as an object of fascination for me as a critic–all the scraps and commonplace books kept by Emily Dickinson, Marianne Moore, Anne Spencer, and many other women as they tried to find time for poetry amid domestic chores, tough jobs, and political urgencies. I also recognize it, with more chagrin, as denoting a body of seemingly-necessary writing I constantly perform, obliterating time for other kinds of writing I am constantly saying I should prioritize.
Lesley Wheeler, Obliterature

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Doubt. I decided to write today about doubt in reviewing because doubt is crippling and prevalent. It is also a private experience; on the surface we struggle to seem reasonably confident, we repress a lot of our fears and doubts so we can function in a world that often would rather not know our current interior state of being. People turn to reviews for reading recommendations, to discover writers they’ve never heard of, and to deepen their engagement with a text that often has yet to be, or perhaps might never be, critically examined by literary theorists. They come with an expectation that the reviewer has enough knowledge of the genre to give an informed opinion or analysis. This is a reasonable expectation. Let me say, if you have doubt, like me, doubt that you can review a certain book, or that you know enough to review that book, you are in a good place, this doubt shows that you take the review seriously and want it to be as good as possible.

Not all reviews are created equal: some are glorified yelp reviews, some simply lackluster, some start off beautifully but then fall apart, some miss the point entirely, some are pompous and painful to digest, some are unbelievably brilliant, but most fall into the useful category. They help readers find books, and isn’t that what most reviewers ultimately want to do? Above all, I want my reviews to be useful, but hope they can be artful as well.

If you’re thinking about writing book reviews for the first time, I say please, yes, we need more reviews and reviewers in the literary community. If you are nervous, if you feel doubt, just keep working through it, there’s a way through. Sometimes I experience this doubt before I begin a review, I finish a book and think, but I don’t know what that was about! Then, I start putting words down on the page and suddenly I have more ideas than I can possibly use. Or sometimes I finish a review, and then I go to post it on my blog, Fork and Page, or I go to submit it to the journal I write reviews for and I think, what if I’m wrong about something, what if I didn’t understand the author’s intentions this time, perhaps I should just scrap it all together. But when I read the review again, I realize that it is the best I can do at this time, that my doubt is part of a larger struggle with self-confidence. I share this to help normalize these feelings, as ultimately reviewing itself has taught me so much about writing, and I hope that doubt does not hold other writers back from writing reviews.
Overcoming Doubt as a Book Reviewer – guest blog post by Anita Olivia Koester (Trish Hopkinson’s blog)

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All night, even as rain pounded
the crickets called and called
their high-pitched throb offering
a different perspective
on the downpour’s
thrum, a bass string’s thump
on windows, roof, the dark’s
wild fullness that we don’t
understand and thus fear.

Shiver of screech owl, damp in its
hickory-tree perch
sad dreams, body aches, waking
into memory. We animals
amid bedsheets, sweaty and tossed,
find ourselves alert, listening.
Rain drums sown in long bands
and crickets sing.
Ann E. Michael, Wet Year

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There is this reach, this angle of fingertip-catch on entry, this strong pull initiated between iliac and pubic crests: between each wave the fire of core muscle on a long diagonal across belly, back, shoulders, alighting in palm of hand and the strong pull set free on ballistic recovery, loose and relaxed. Now the other, the next: ravenous for reach, for glide. A rolling, easy kick to balance. Scything through water for miles, unconscious of power, so fearless there is nothing but animal power, nothing but joy so still and deep it barely resembles emotion: it is an element, it is body and water and sky, bone and forest and eel, fish, orca, raven in flight. It is the dead brought back from the abyss: it is the living bone they animate. Abalone. Driftwood, bleached white and knobby. Pearlescent shell of former lives holding the single drop of now: now the entire lake, forest, sky, muscle and bone articulated in water-breath, the drum of heart perhaps the lake’s, perhaps mine, perhaps K’s, perhaps the rhythm of the boat’s oar, perhaps the pounding of earth itself far, far beneath this ashen wave, this drop, this almost imperceptible and tiny life as vast as sky, as ocean.

Shhhhh, says the boat.
Now, says the body.

Now.
JJS, Skaha Part III: 8:30am—10:30am, fearless joy and power

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 33

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

This week, the #ShareYourRejections hashtag took off on Twitter, with poets joining other writers in detailing rejections both humorous and harrowing. Since a number of this week’s blog posts also address publishing challenges and successes, I thought it might be interesting to begin with a few of those tweets from regular Revival Tour participants before proceeding to the usual blog excerpts.

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Every Girl Becomes the Wolf is now available!

This chapbook explores the received images of the feminine in fairy tales. The women and girls in this collaborative chapbook resist the common tropes of red riding hoods, gilded mirrors, and iced palaces. Every girl becomes the wolf because every girl has the power to tear apart the cultural conceit of wicked stepmoms, heartless mothers, and voracious monsters. Witches, hags, and mothers of damaged creatures from myth, movies, and lore prowl through this poetry. Lilith settles in to enjoy the county fair rib-off, Grendel’s mother holds her son close, and the Sphynx bears the weight of mythic secrets. Mothers demand their own freedom, daughters refuse gendered expectations, and wives leave what spoils with rot behind. As they wrestle with their place in these stories, they transform into figures outside of the victims or villains they have been perceived to be.

I’m so proud of this chapbook of monstress poems Laura Madeline Wiseman and I coauthored and its been a delight to see that friends, family, and strangers have been receiving the book.

I received my author copies this week — with their gorgeously smooth textured covers — just in time for WorldCon 76 this weekend! If you’re going to be there, consider stopping by Room 212C to hear me read some poetry-type things along with some fellow Science Fiction and Fantasy Poetry Association (SFPA) members.
Andrea Blythe, Announcements: New Poetry and an Upcoming WonderCon Reading!

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Pre-orders for my new poetry collection, Midnight in a Perfect World, are now available at Sibling Rivalry Press. You can pre-order at this link.

Many, many, many thanks to Seth Pennington for his gorgeous cover design, Colin Potts for the author photograph and SRP publisher Bryan Borland for his support of this collection. The book will be officially released on Nov. 15. Stay tuned for book launch and reading announcements! […]

“In Midnight in a Perfect World, Collin Kelley navigates the moody landscapes of desire, travels the dark edge of Eros in the 21st century of love, charting his passage in language sometimes brutal, sometimes lyrical, often both at once. And if that perfect world all lovers seek remains elusive, here we break the boundaries of the familiar and arrive in a place where we can breathe the twilight air and step, almost, into the dream of it, ourselves.” — CECILIA WOLOCH, author of Tsigan
Collin Kelley, ‘Midnight in a Perfect World’ now available for pre-order

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Kansas City area poet Sara Minges brought out her new book at a well-attended reading at Prospero’s Books.

Sara’s book, Naked Toes, published by Chameleon Press, is a splash of upbeat, witty, and sometimes cathartic views world of the world around her through her wide open and perceiving poet’s eyes.

She mocks Barbie and Ken. She even tangles with Barbie; she will not be plastic or silent.

Her real-life role is that of Play and Happiness Expert. No, Really. There is such a thing.

She shares exploits of “arse kickin,” being handcuffed in the county jail, and her little black dress.

One gets the impression that publication of this book was perhaps a freeing experience. Like the freedom she gets from naked toes.
Michael Allyn Wells, Local Poet Sara Minges Brings Her Poetry to Print

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As I know you’re at work on a new manuscript of poems, does it differ from your previous books, overlap, or strike out into new territory?

Vanessa [Shields]: I just finished writing my new poetry book last night! How cool is that? Its working title is ‘thimble’. This collection began out of spiteful necessity. Meaning, I couldn’t not write poetry anymore. Come last October, I was bursting after having not written in months. I was on the fence about submitting to the Ontario Arts Council Recommenders’ Grants because I was pissed I didn’t get one the previous year (!). Out of spite, I threw some poems together and submitted. I got three grants! The most ever for me – and it floored and humbled me. Also, gave me the confidence I needed to keep writing. My confidence shifted from a drying brook to a roaring river!
Bethany Reid, The Fabulous Vanessa Shields

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The other night these lines drifted through my head: Once I saw the world as full of opportunities / now I see the trip hazards. […]

Yesterday I got an acceptance from a journal that hasn’t accepted my work before, TAB. And even better, they took not one, but two poems.

As I always do when work is accepted, I went through my submission log; happily those poems aren’t under consideration at too many other journals. As I made my way through the log, I thought about how long they’ve been looking for a home. I thought about long ago, when I read a poet who said that after 10 rejections, she assumes the poem still needs work and does a revision. But I know that the odds of acceptance are cheap–there are lots of poems out there, circulating, looking for a home.

Yesterday’s acceptance is a good reminder that progress can be made in a writing life, even if one has only scraps of time. In past years, in days of paper submissions and postage, I’d have already created packets of poems ready to be mailed at the first moment that literary journals opened for submissions in September. These days, I try to remember to send out several submissions a week, which during busy weeks, turns into only several submissions a month–which is still better than nothing.
Kristin Berkey-Abbott, The Inner Life of the Disney Princess and Other Inspirations

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August has begun its now-typical delivery of multiple rejections, as most of the awards and contests to which I submitted my manuscript earlier in the year (and one proposal to a conference-of-which-we-won’t-speak-because-OH-MY-GOD) have reached their decision-making deadlines. So there’s that happiness. I’m watching my list of submissions dwindle on Duotrope and it’s both depressing and kind of relief-inducing. I’m nearing the point where my MS won’t be out in the world at all. That makes me both weepy (well, it would, if I was a crier) and kind of elated. One can’t be rejected if one’s not putting oneself out there. Of course, one can’t be published, either.

But there’s a small collection of poems growing still — and after I get some distance from them and then return and edit them with some discretion, perhaps I’ll begin submitting those. Maybe I should just have my sights set on journal publication and give up this book nonsense.

That last sentence is probably disingenuous but I’m more or less thinking out loud with this blog.
Sarah Kain Gutowski, Persona Poems, Rejections, Decluttering, and Trash Pandas

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I’m happy to hide out at Virginia Center for Creative Arts in these waning days of summer. The first thing I noticed upon arrival was how green it smelled–I love my city, but you don’t get overlapping layers of flower and grass pine, nor all the butterflies. There’s a frog that lurks outside my studio. There’s a magnificent spider that I’m pretty sure it’s a brown widow, not a black one, but I’m staying clear just in case.

Because this is my fourth time here, it’s easier to slip into the rhythm of things: I knew to bring my own orange juice, my own blankets, and a bottle of scotch. I enjoy being social at breakfast, or at lunch, but not both. I’m trying to spend only an hour a day on email, isolating it to the leather couch in the living room. I’ve got a stack of books and lit mags to devour, and W8 has a comfy reclining chair for reading. Although I haven’t been in this studio before, I’m happy to see a number of friends as past occupants. […]

I wish I could say this time was all about recharging my creative energy. That’d be a lie. I have over 1,500 pages to evaluate (literally) of work not mine, some of which requires line edits. Yet this is also my chance to push-pin the pages of the fourth collection to the walls, and live amongst them. There’s a distinct type of edit that gets done when I can look at pages casually, skipping around, and compare adjacent shapes of poems. I catch redundancies of phrase I did not see before.

I’m still deciding three sections or four, and which poem will close the manuscript. But my resolve holds: this book is a book. I’m excited to tell you more about it soon.
Sandra Beasley, Back to VCCA

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It has been a summer of quiet. Avoiding the noise. Relinquishing the pressure of “content”, in terms of both producing and consuming.

I wrote very little. Read less than I’d like (awaiting new reading glasses). But listened.

I dropped every project on my summer to-do list, except extending my morning meditation to 20 minutes, which I have done with more ease than I anticipated. I unintentionally developed a daily yoga practice as well. I don’t recognise myself.

And yet, I do. […]

After so much rejection last fall and a winter of depression, I spent a good deal of summer thinking about how I have fetishised my identity as a writer. As a poet. What keeping up appearances has meant for the praxis of my writing. I forced myself from the fall to keep a handwritten journal, rather than an electronic one – just to remind myself that public documentation of writing does not make it any more significant.

I asked myself whether my writing time passed in a state of anxiety, of fear. Whether I was writing to prove something to the vague, indefinite judge out there of what is “good” poetry. Whether I was motivated by a fear of not being seen (ie not being “real”), … or a fear of being seen.

This week is the first week back to school. I am looking forward to meeting the students tomorrow. Looking forward to my morning routine – which includes writing.

The difference now is that I no longer think of it as the time in which I have to justify my existence.

I have been listening to John Cage’s music. Wondering what silence has to say for poetry. I’m listening to the coffee machine and its easy metered song. I’m motivated to discover what words will come from it all.
Ren Powell, The Pursuit of Silence

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[A]fter having to cancel a reading the day after I got out of the hospital, I took a whole bunch of prescription drugs and set out to conquer the world – two days after.

Brick & Mortar Books in Redmond hosted a panel on apocalypses, including me, YA author (The Last One) Alexandria Oliva, and Gather the Daughters author Jennie Melamed, last night. It was great – a good sized audience, great questions, and the two other authors were wonderful. I was so happy that I turned a corner – I was really nervous I’d have to cancel. It was a nice reminder that I am more than just a sick person or a super mutant patient of a bunch of specialists.

It was also nice to sell some copies of Field Guide to the End of the World, talk to other writers about writing, and talk to an audience about the joys of poetry. Things that remind me of the good parts of being a writer. Today I got an acceptance in my inbox of two poems, which was a nice reminder, too, that it the middle of what feels like an endless stretch of bad, there might be good things waiting.
Jeannine Hall Gailey, Talking Apocalypse, End of Summer, Hospital Trips (and Other Unplanned Trips)

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I attended a lively and unpredictable poetry reading/performance recently, No River Twice. The poets who participate in the group reading develop the concepts at each performance, endeavoring to find meaningful and entertaining ways to permit audience members to sense an active engagement with poets and to experience poems more vividly. It appears to be an evolving performance process, and I enjoyed myself!

Grant Clauser explains the idea on his blog. Most of the poets involved have at least some acting or performance background. They are also active as mentors, instructors, advocates for the arts, and “working poets,” by which I mean they get their work published and performed and are constantly writing, revising, and reading the work of other poets in the service of learning new things.
Ann E. Michael, River of poetry

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It is always interesting to read poetry in a new venue — one that is new to you but has been many things in the course of its 100 year existence, or one that opened its doors last week and has hosted one jumble sale and a campaign meeting. I often record my poetry events so that I can make any necessary alterations to volume, pace and diction in my delivery, not to mention noting any memory slips; this also means that I hear how room ambience varies with venue and audience size.

If I’m reading without a mic then I prefer the smaller cosier rooms where the audience is metaphorically sitting on my knee; if I have a microphone that is nicely positioned, I like a larger venue where the sound hangs around before dissipating into the evening.

I like to hear the room ambience in a live recording, which is making me think about what my audiobook should sound like. There is ambience when I record poems from memory because I stand about 4ft away from the microphone in order to reduce pops and clicks. For the screen reader performed poems however there is no ambience. So I’ve been playing around with the reverb settings in my recording software to see how well added ambience sounds.
Giles L. Turnbull, Friends, Room Acoustic Experts, Poets, Lend me Your Ears!

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I wanted the challenge of having to write a single draft of a poem quickly, then send it off right away.

There’s pressure in knowing you only get one shot–but freedom from perfectionism too.

I bought a pack of random postcards.

I pull out a card, turn it over, and begin to write.

My only constraint (aside from the poem needing to fit in the small space)

is that the poem must have something to do with the concept of time.

It’s been quite crazy having to figure out how to work time into a poem about a giraffe or a monkey.

Even though it feels like I am writing in a vacuum, the poem is a missive to my audience of one.

Some of the poems came swiftly, without setting my pen down once.

Some of the poems have taken a bit more time.

But nearly all are silly, in some way.

Rarely, if ever, do I allow myself to just be silly.

And you know what, I can’t figure out why. It’s actually a lot of fun.

It’s okay not to take every endeavor so seriously.

Participating in the August Poetry Postcard Fest is reminding me that it’s okay to write mediocre poems.

It’s even okay to write bad poems.

As long as the postcard poems make the recipient smile, that’s good enough.

And good enough is sometimes good enough.

And I think there is a larger lesson in this postcard experience for me–

just write!

No matter what happens on the page, just write.
Lana Ayers, About half way…

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About 12 years ago I finished an MA course in Creative Writing that I was ill-advised to have started. I don’t know what my motive was, but my heart wasn’t in it. I duly got my MA, but the writing didn’t start in any meaningful way until I started going to the Poetry Business Writing Days on a regular basis a couple of years later. Even then, between 2007 and 20012 I averaged about twelve new poems a year.

Something strange (or, rather, wonderful) happened in 2013; it was like a dam bursting. I’ve written ceaselessly since. 272 new poems. I cannot account for it, but I’m happy to count my blessings. And I can now look back and see a curious process and progress.

In one of the essays I wrote for my MA I see that even then I had an idea about where I wanted to be. I wrote that my imagination was:

‘visual, excited by landscape, particularly the landscape of hills, fells, sky, sea and weather’. but that I wanted to be more: concerned with explorations of people in landscape, and the meaning of their histories.’ […]

This poem, about someone I was very fond of, only happened because of the pressure of a fast writing task that ambushed me into knowing an emotion I didn’t know I felt. Thank you for that ‘write from a postcard’ task, Jane Draycott. I plucked up the courage to give a copy to Julie’s brother at her funeral. He liked it. He shared it with people, and I sent it off for the Plough Poetry Competition, where Andrew Motion liked it and gave it the first prize. That’s what changed everything. It gave me permission to think I could write, along with the encouragement of Kim Moore (who put one of my poems on her Sunday Poem blog), and Gaia Holmes, who gave me a guest slot at the Puzzle Hall Poets. That was it. The dam broke.

Years of reading and teaching, and having a family and a history were stacked up, waiting to be dealt with and voiced. It took 70 years, but I finally got going.
John Foggin, I’ll be back

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[Larry] Levis suggests that from a poetry of place in which place was specific and represented a lost Eden, this kind of poetry of place has been shifting in favor of finding different ways to imagine the imagery and ideas of that loss. Of the poetry of place in general he notes, “It is the geography of the psyche that matters, not the place.” He notes “Eden becomes truly valuable only after a fall, after an exile that changes it, irrecoverably, from what it once was.”

“And yet most younger poets still testify precisely to this alienation and isolation, this falling from Eden. Only they have changed it. It is as if the whole tradition has become, by now, shared, held in common, a given…,” he observes. He wonders, “Again, in some unspecifiably social sense, it may be that places themselves became, throughout much of America, so homogenized that they became less and less available as spiritual locations, shabbier and sadder.” He considers, “it may be that this…new homelessness…is what a number of…new poets have in common when they practice the ‘meditational’ mode–for what they tend to hold in common is, at heart, a contradiction: an intimate, shared isolation.”

But I wonder if this isn’t exactly what poetry is, an intimate shared isolation? Don’t we sit alone with a volume in our hands seeking to find contact with another mind/body/soul/individual? Maybe I overstate it. And maybe he overstates a poetic drift away from poetry of place. But as I read desultorily across literary magazines and volumes, I do find less about exterior place and more about interior place, specifically the interior place of identity. Is this the new home that we’re writing about, the home of who we are, or think we are? And is self-identification by definition an exercise of comparison to others, in some way an oddly collective act? Funny.
Marilyn McCabe, “Who am I, why am I here, why did I cut my hair, I look like a squirrel”; or Thoughts on Poetry of Place and Self

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Time and time again, poetry shifted my gaze and restored my mental health. It gave me access to experiences I’ve never had and clarity on ones I did. So many poems made me feel less alone in my mistakes, and brought cognition to mistakes I didn’t always realize I was making.

Like Katherine Larson’s poem “Love at Thirty-Two Degrees,” where she reminds her lover, “every time I make love for love’s sake alone, / I betray you.”

And Lisel Mueller’s poem “Fiction,” that expresses the familiar nostalgia and grief we’ve all had at the end of a friendship. She longs in lyrics, “if only we could go on / and meet again, shy as strangers.”

And Hanif Abdurraqib’s poem “For the Dogs that Barked at Me on the Sidewalks in Connecticut,” which I’ve read nearly every week for the past three months, because, I too, “must apologize for how adulthood has rendered me.” and fear vulnerability. Like him, “I am afraid to touch / anyone who might stay / long enough to make leaving / an echo” and have, for awhile been “…in the mood / to be forgotten.”
The Transformative Power of Poetry – guest blog post + TEDx talk by Crystal Stone (Trish Hopkinson’s blog)

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 32

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

This week, poets have been blogging about friendship and community, cross-media inspiration, how to measure productivity, how to handle disability as a writer, and (of course) much more. My favorite quote of the week comes from Ren Powell: “Sometimes just let the fox be a fox.”

Everything I say is, was.
Everything. It’s all in
round numbers. The date

you began. The date
you weren’t. Ages, years, gifts.
“I feel moved,” you began, then

spun on wheels whirling like
laughter, curved like smiles,
round as eyes. It was
a piece of everything.

In memoriam, Carl A. Larkins, 1948-2018
PF Anderson, Like You

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I have very precise memories of the first four books of poetry I owned, three of which have been mentioned a few times in these blog posts. First was Sir Walter Scott’s The Lord of the Isles, bought for 2p from a jumble sale at my junior school; second and third were related to my A-Level English class, The Poems of Thomas Hardy and T. S. Eliot’s The Waste Land and Other Poems. The latter two were my first influences — I spent two years trying to write poetry with Hardy’s gloomy perspective on life. Then came Blue Shoes by Matthew Sweeney.

Blue shoes was a present from my parents. They knew I was enjoying the poetry I was studying and that I’d started writing my own, and so they picked out Blue Shoes for me. Goodness knows why they picked that particular book from the poetry section of whichever bookshop in Harrogate it was but I am very glad they did.

Blue Shoes was published by Secker & Warburg in 1989. They purchased it as a signed copy and I loved the tone and shape of the poems. I guess it was more pamphlet-sized than a full collection, but there was such beauty in its mien. I remember most of the poems fitting on one page and, I suspect, this still subconsciously influences me — my poems are often short and they don’t feel finished until I’ve extracted only the essential core.
Giles L. Turnbull, Under the Poetic Influence

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The UK summer heatwave rendered me incapable of doing little else but hugging the shade with a goodly supply of water, tea and reading material. I granted myself leave from writing a blog post, last Sunday. Writing output amounted to little more than notebook drivel on nights when it was too hot to sleep. I never find it too hot to read, though.

I’ve blogged before about collecting poems that I’ve read in magazines or online: the ones I love and those I might wish to re-read or refer to, at some point in the future. There are more than a few I’ll cut out and keep from the Europe issue of Magma. As a long-term subscriber, I think it’s quite possibly the best issue in years (I can’t comment on my TBR copy of the Film issue). It could so easily have been Brexit-centric but issue 70 was, as always, a net cast wide in terms of style, subject and takes on a theme. Poems that made me smile: Duncan Chambers’ Les Vacances; Sarah Juliet Walsh’s Le Rêve. One that made me laugh out loud: Astra Bloom’s Sacré. My absolute Top Three poems of political/social comment: Fiona Larkin’s Hygge; William Roychowdhury’s Farage for a Migrant Worker; Katriona Naomi’s Slowly, as the talk goes on, we are getting nowhere.
Jayne Stanton, What I’ve been reading this summer

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I’m teaching an independent study for a Business student who literally has run out of courses to take–so I offered to teach Introduction to Literature as an independent study. Once a week, we meet in my office to discuss literature. It’s quite delightful, and in some ways, she’s learning the material the way she would have had we been teacher and student in the days of Socrates. Except that we have literature on paper. Perhaps the more apt historical reference is the way that students learned (and probably still learn) in the hallowed halls of Oxford and Cambridge.

Yesterday she wasn’t as prepared to talk about Alice Walker’s “Everyday Use,” so we switched gears. We looked at poems, and we spent time with Gwendolyn Brooks. When we read “We Real Cool,” I had a memory of Gwendolyn Brooks reading the piece, and I thought, let me see if I can find this.

We meet in my office, which has 2 computer screens, so I found a clip which included Brooks discussing the poem and arranged the screens so we could both watch. It was a still photo, which in a way was great because we could focus on her voice. She reads the poem so differently than I do–which lead to a great discussion of how the words are arranged on the page.

Later, I thought about the miracle of the Internet. Once, if I wanted my students to hear Gwendolyn Brooks read a poem, I’d have needed to plan ahead: I’d need to find the recording, and I’d need to make arrangements to play the recording. In fact, I stockpiled materials so that I wouldn’t have to think ahead. Yesterday it took about 30 seconds from the idea of Brooks reading the poem to her voice coming to us through the speakers.

I do understand all the ways that technology can detract from the learning experience: the constant distractions, the materials that seem like good sources for a research paper but aren’t, the technology failures which disrupt our teaching plans. But what an astonishing world we’ve created in just a few decades.
Kristin Berkey-Abbott, Brave New Teaching Worlds

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There were a couple of specific research questions I would have liked answers to, but I didn’t find them. Instead I enjoyed watching [Anne] Spencer’s friendship with James Weldon Johnson unfold and deepen over many years. He encourages her to write and submit her work, staving off discouragement. They recommend books and articles to each other: Johnson suggests, for example, that Spencer read Gerard Manley Hopkins’ poetry, and she responds with enthusiasm about what she’s found. Spencer encourages Johnson and his wife to visit for spring flowers and Christmas festivities, noting she feels more alive when she can look forward to their conversation. There’s plenty of politics in the letters but also ordinary stuff, like worry about Spencer’s children. It was especially sweet to notice how the salutations evolved over time: from the relatively formal “My dear Mrs. Spencer/ Mr. Johnson” to “Dear Anne” and “darling Grace-‘n’-Gem.”

The surviving correspondence between Spencer and Langston Hughes adds up to a much slimmer folder, but there’s also a lot of warmth and play in it. Spencer tells Hughes, for instance, about naming birds in her garden after distant literary figures. There’s “one named Langston–quite too proud of his black and gold-bronze plumage…and Mencken so yclept because of a certain spurious bitterness–mostly pose.” What a lonely world she lived in, and yet so populated. It’s not totally unlike writer-friends in far-off places now, messaging in ways that will be difficult to archive.

For all the violence in Spencer’s time and ours, there was and is a lot of love zinging around. I hope we can keep protecting it from the general heat. Write from the saving coolness of it. But it’s so, so hard.
Lesley Wheeler, Same old love

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I wrote a book this past week. Okay, to be precise, I finished it–what felt like a somewhat Herculean act of confronting every “TK” page in the collection. I put the rest of my life on hold. I rescued a poem from the abandoned archives via some drastic edits, wrote a prose-poem based on a field trip into the city, wrote a long one after a day’s worth of immersive research, then wrote another short one, a kind of early-morning grace note.

This doesn’t mean that much, in the overall scheme of things. Now I second-guess myself. Now I send to a few trusted readers to second-guess for me. Three sections, fifteen poems per section, 68 pages total; all of this is negotiable, of course, though it’s comforting to find measures equal to Count the Waves and I Was the Jukebox, my previous two collections. I’ll want to place a few more poems in journals, and I’ll need to draft a precis–a 1-2 paragraph introduction that distill’s the book’s thematic focus and why people might want to read it.

At the end of the month, I’m fortunate enough to head to Virginia Center for Creative Arts, push-pin pages to the walls, and live within the book’s geometries. The time will feel stolen–departing the morning after my workshop for The Writer’s Center ends, returning to DC the day before my American University class begins, and with University of Tampa work on my desk while I’m down there. But I’m going to make the best of things. All that before I even think of sending to my editor in September. Who might reject it.

Still: I wrote a book!
Sandra Beasley, Writing

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Who remembers the silence of flood,
the pulse of fat brown rivers
quiet as elephants, bloated with swallowed fields,
with diesel rainbows, slowly spinning trees?

Who remembers silence by gossipy streams
full of the small-talk of stones?
John Foggin, Flood alert (4)

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In the 1970s, science historian and television broadcaster James Burke created and hosted a show called Connections. I was a fan of the series because I loved the surprising ways discoveries, events in history, people, and accident led to innovations and the criss-crossing of continents and ideas. The interdisciplinary aspect of human culture, of science and the arts, fascinated me as a teen. Those networked ideas have shown up many times through my life.

Connections: The photo above was taken by my fellow student Steve Lohman when we were freshmen. Steve later attended Pratt School of Art, We lost touch for a long time, and–I have forgotten how–I found his metalwork while I was looking for cover art for my book of poems The Capable Heart.

Connections: I liked Steve’s wireworks, but I remembered him as a photographer. Granted, what a person pursues at age 17 or 18 is easily liable to change–but I was curious about how he started doing sculpture. When he mentioned he’d attended Pratt, I asked if he had ever met Toshio Odate, who taught there for years. “One of my favorite teachers!” said Steve. “I loved his class.”

Connections: My spouse took a job writing for a woodworking magazine, where he met Toshio, who wrote about Japanese tools and woodworking techniques. Meanwhile, Toshio was creating his own works of art at his home as well as mentoring many students. He’s now a long-time friend of ours. […]

Connections: Neural networks, the embodied mind, the ways writing assists in psychological healing, the twists in a good novel’s plot, the turn in a poem, metaphor, surprise. The unexpected thrills us–unexpected connections fill us with curiosity and a kind of joy, as does the closure.
Ann E. Michael, Connections

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Can you talk about the intersection between pop culture and poetry, and what draws you toward this mix in your work?

There’s a long history of literary critics and gatekeepers insisting that poems that reference pop culture or contemporary culture are necessarily not serious works of art, and that great literature must be timeless. I reject this idea — I think it’s dumb to try to divorce art from your lived experiences and the culture it comes out of, and that trying to ties into this false notion that literature can or should be “universal,” which historically has really just meant writing that appeals to straight white men. I’m drawn to writing that feels honest, that I see myself in, and my life has always been steeped in low-brow pop culture. My girlhood was formed around watching Saved by the Bell every day after school and reading Christopher Pike horror novels all summer by the pool and watching the movie Pretty Woman at every family gathering. My models for relationships were TLC songs and My So-called Life and Sex and the City and The Real World and perhaps most of all the show Friends, which we watched every night at dinnertime. Pop culture is in many ways what has shaped and inspired me most as a human and an artist.

Your most recently collection is Reversible (Switchback Books, 2017). Can you talk a little about the book and how it came into being? How was your process of writing this book different than with other collections you’ve published?

I wrote Reversible over the course of around 7-8 years, starting right after I finished my MFA in 2008 until it was published in 2017. The poems in Reversible are mostly about time, and girlhood, and feminism, and identity formation and self expression through cultural ephemera like music and clothing — how in the 90s I was obsessed with clothing and music from the 70s, and now everyone is obsessed with culture from the 90s. Sometimes I think Reversible is the last of anything I will have written that won’t be written in a mad scramble to find time — I remember sitting in a coffee shop on Valencia Street in San Francisco in 2008 and writing one of the long poems from Reversible, called “8th Grade Hippie Chic” (which was published earlier as a chapbook by Immaculate Disciples Press) in its entirety in my notebook while listening to songs by Fergie and Avril Levigne playing on the coffee shop radio. I worked 3, sometimes 4, days a week and even that felt like a lot, and also the pace of everything just felt so much slower then. I’m so jealous of my younger self!

Now ten years later I live in New York and I work full time and have a zillion other writing and editing projects and other life responsibilities and I feel like my relationship to time and my writing process has been totally exploded. Now when I write, it’s on my commute or in moments stolen from my workday or from sleeping or from doing some relaxing thing I’d really like to be doing, and I’ve had to allow my approach to writing evolve with the requirements of my life as a full-blown adult in late capitalism.
Andrea Blythe, Poet Spotlight: Marissa Crawford on pop culture, feminism, and the value of emotional knowledge

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Are you aware of the Instagram poetry community? I’m on Instagram mainly as an artistic outlet. It’s soooooo much nicer there than other social communities. I like it best because visuals come first and words a distant second (and the added bonus that old classmates can hardly find me).

That may sound weird coming from a poet but I’ve identified as a visual artist much longer than I have a writer. My hand is years out of practice, though, and drawing is taking a back seat now, but lately picture-heavy Instagram has been giving me an outlet for my words. In a weird way.

I’m not interested so much in putting my best poetry on Instagram. Right now I am focused on publication for individual, finished poems in hopes that it will lead to a book. And publishers consider poems posted on personal social media accounts as official publication. They want first-runs. That’s okay. I get it. Some of my stuff I throw out there to the masses anyway before publication because I want the human connection. I don’t write in a vacuum anymore.

Instead, I use Instagram as a free-writing, no-holds-barred, morning pages place. Instagram’s My Story feature is great for this. I usually either take a photo or go back to one I’ve taken previously, add it to My Story and use the Text feature to write something based on the photo. It’s kind of an ekphrastic prompt, and I find it very freeing. I don’t allow myself to edit or even consider sending it to a lit mag. Mistakes are most welcome. What I want is weird.

Stories don’t last more than 24 hours on Instagram so I use the Save feature at the bottom of the My Story screen to save what I’ve written for use in a future poem or flash piece or something else. Then I send the Story and my words out there to whomever may want to see it. Doesn’t really matter. It’s getting the wild words on the page– on the picture– on the Story– that counts. Something might come of it someday.

What have you done lately to make art in an unexpected place? Try the Instagram Story prompt and @ me what happens.
Lorena Parker Matejowsky, instaprompt

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In the wake of Micro-Sabbatical Summer 2018, I’ve kept writing and done some small fine-tooth-comb type edits to poems that I’ve written this summer — which happen to number FOURTEEN, if you’re curious.

I know, I know, I’m just as shocked as you are.

I know that for other writers this isn’t really a big deal, but I know also that there are some of you who understand this feeling — this feeling of having been treading water for a really, really, really long time and then finally venturing toward some distant shore. The shore may be really far off in the fucking distance, but you’re finally able to swim toward it. Maybe that’s a lame and expected metaphor. But I warned you — I’m still rusty.

Yesterday I met with M.S. and we shared with each other the work we’ve been attempting to eke out this summer, something especially challenging for her, because she’s been teaching art at a camp for the past month and a half. We talked also about our Repeat Pattern project and finally came up with some good working guidelines — not exactly restrictions or obstructions, but our expectations/desires as far as our method(s). We decided to use the sketchbook method again — it won’t be the Brooklyn Art Library’s sketchbook, but something a little larger and sturdier that we’ll use to archive our ideas and drafts — or for M.S., maybe actual art. We gave ourselves a year, too — we’ll exchange the book back and forth throughout the next few months and I’ll respond to her art and she’ll respond to my writing — albeit in an associative, not literal or direct, way.
Sarah Kain Gutowski, Plans, New Projects, and Ignoring Henry Miller

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How profound to be a miner,
ascending in a steel cage,
that end of shift fatigue momentarily lifted
only to be shouldered again the following day.

Think also of the diver, swimming towards
the thinning colour that is surface;
how dangerous that epiphany
when nitrogen enters the bloodstream.
Julie Mellor, To say we exist

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I’ve always been an A-type, goal-oriented human. The problem with that is when you can’t achieve your goals, do you consider yourself a failure? Do you forgive your body for betraying you? I think the trick is to enjoy and appreciate the moments when you can do things, and the rest of the time, you have to be okay with the fact that your body isn’t going to work all the time. Which is tough. We live in a society that values doing things, not being things. I used to, for instance, earn good money as a tech-writing manager. Not anymore – I’m lucky to break 15K a year as a writer and editor these days. (Just being realistic, people. This was also true when I was working as an adjunct!) Am I worth less as a person because I make less money? I’m still writing. I still send work out to be published, just maybe not as fast. The poet in me says: this downtime is allowable. It does not make you less of a poet. But the A-type, goal-oriented part of me says: what are you even good for these days? It is angry that I’m not able to do even simple things every day – go to a bookstore, or a garden, or hike by a waterfall – that bring me joy. I can’t socialize every day anymore. Those feel like losses to me. I love my friends, my spouse, my garden and my cats, all of whom have put up with me in my new, broken condition – one that is fragile, and somewhat unpredictable. I need to be able to accept my new condition as well.

This has made me think about Emily Dickinson, who was home-bound for most of her adult life. She didn’t get out much, although single women couldn’t do as much in her day even if she had been totally well, which some historians thinks she was not. She did have a fabulous garden and greenhouse (concreted over by the next owners of that property, by the way, to make tennis courts – the shame!) She famously wrote a poem about what might make a life worth living (“If I Can Stop One Heart From Breaking”) so I think she also struggled with, having not attained publication or fame during her lifetime, and not getting married or having a family (women in those days didn’t have much chance of having any type of career) seeing herself as a failure, coming up with coping mechanisms for not being able to achieve her goals. “Victory Comes Late” is one of my favorite of her poems, because it deals with bitterness and loss from the perspective of achieving goals, but late and at a time when it no longer brings a thrill. (Did she foresee her own post-life fame, I wonder?)
Jeannine Hall Gailey, Making Peace with a Body at Odds with Your Life Goals

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I discovered that living in Denial-Land about disability was dangerous for me as a writer. It meant that I was hiding from myself. For example, I saw that I’d written almost all of my poems using an implied speaker who apparently had a perfect body—or didn’t really have a body at all—yet the reality is that everyone has a body, but no one has a perfect body. I was keeping my imperfect body walled off from my poetry in order to provide the kind of fake speaker I thought readers wanted. A disconnect or vacuum from our authentic self is created when we wall off our real bodies from our writing, I believe. The fact that each of us lives with our own unique body is an elemental feature of our existence.

As I found out more about Disability Theory, I started to sense myself as an embodied creature more so than I did in the past. As my worldview changed, I felt more grounded, more connected to my true self. This is reflected in my poetry, which doesn’t necessarily focus on my body per se. But there is now more depth to the speaker. The speaker is “marinated” with a realistic, imperfect human body that “soaks into” the poems at times by a process of nuance and implied reference.

Also, in the relatively short time that I have been aware of it, my writing process is different now. I still have a “work ethic,” but I’ve changed the rules. I refuse to consider myself a slacker when I’m flexible about my writing. And I have to remind myself constantly that time lost to illness doesn’t equal failure. Recently, I have forced myself to let go of work sometimes. Surprise, surprise, the sky has not fallen in.

The Japanese have an aesthetic of beauty through imperfection. The term wabi-sabi, as explained by Leonard Koren in his influential book Wabi-Sabi for Artists, Designers, Poets & Philosophers, refers to the act of embracing the flawed—the weathered, rusted, or worn down. Kintsugi or kintsukuroi (“golden mend”) is the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. Cracks and repairs are highlighted, not hidden. What would happen if we applied this aesthetic to our human bodies? Our lives? Our poetry? What would happen if we wrote about real people with real bodies? If we celebrated the flaws that make each of our bodies unique? Let that thought bounce around in your head for a minute. What would happen? Just what would really happen?
A Moving Target: What Disability Taught Me – guest blog post by Eileen Murphy (Trish Hopkinson’s blog)

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broken button:
tugged & twined
frayed against
the cape the cowl
the collar /
shrugged high
against the iceheart
marrowbone dark //

flat cataract:
milk or smoke
or silica
obscuring the macula /
watching now only
what she remembers
of red shift / of
spectral drift //

abalone pearl:
effaced by
a drugged horizon
now pink & sable
deep elliptical
frozen albumen //
Dick Jones, names of the moon

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It’s been a week since I heard the cuckoo, though the songbirds are still here, getting on with the effort of living before they leave us to another season of darkness and crows.

I’m picking up a 4-year-abandoned project I called Running Metaphors. Starting Fresh. Nothing terribly ambitious. Nothing terribly profound. A quote handed down to me from my mentor, as to him from his: “Sometimes just let the fox be a fox.”
Ren Powell, August 9

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 30

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

This week, poetry Twitter was rocked by a series of explosions, but in the blogosphere (do we still call it that?) poets seem to be largely staying the course, as Sandra Beasley puts it: not complacent, but taking the crises on board, learning from them, and continuing to read, write, and rage in our own ways.

Many people in the literary world have had a strange past week, where the waves of news have included the seeming implosion of an independent press, the exposure of a fraudulent agent, the revelation of a serial manipulator in our midst, and the publication of an offensively lousy poem in a prominent forum. Then we discovered water seeping through the floor of our living room. The universe, it seems, is trying every which way to keep me from taking pleasure in poetry.

But I’m going to stay my course, in part because I’m so determined to finish my manuscript by the end of the summer. Even on the days otherwise unproductive I’ve tried for a bit of revising, tinkering, fussing with order. And I’m thinking a lot about what makes a poem a worthwhile endeavor, why we do what we do.

Allison Titus is a writer I’ve been following and appreciating for a while now, and in a recent interview with Bennington Review she says this:

When I get excited about a poem, it’s always the same way, that I respond most to poets/poems that arrest me and startle me back to attention (to the world, to life, to living) all over again, in some strange or intense manner: I’m always mostly desperate to be staggered/astonished/undone (by the world and thus by language). I just really all the time want to be rearranged; Robert Creeley is really good at doing this to me (“I heard words / and words full / of holes / aching. Speech / is a mouth.”). When I’m working on my own poems, I like most to be surprised by something that develops/materializes in the way that feels as “true” as it feels wild, crucial, off-kilter.

This captures something really right to me, something essential. One of the things I’ve emphasized recently, in teaching and editing as well as my own work, is the importance of making space for the wild unknown. We often use the rhetoric of a poem’s “landscape,” but in this context the cartography is both science and art–we need to admit and honor elements that surprise us, that don’t fit on first glance. This feels especially important as I work on a fourth collection, and gently resist my natural inclination to plot and plan as a way of easing anxiety over how little control I have over where and how this book lands.
Sandra Beasley, “I just really all the time want to be rearranged” ~ Allison Titus

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Here, the sliders, the shiny-shelled, the leggy things
are eclipsed in nature: walls and trees bear their weight
in a symbiosis of colour, form and texture.
          Good to see them free, untrammeled,
          where they ought to be amongst the webs,
          the moth husks and the tendrils.
Dick Jones, MORAIRA 1

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About summer sun: She is shining in Sequim and all over the Pacific NW, and it’s hilarious that after barely a month, people who have lived here much longer than I have are complaining about the heat, when it’s 80 degrees and the rest of the country is sweltering and burning. I am bathing in light and warmth and a little sad because the days are already getting shorter. […]

What I’m reading: an advance review copy of “The Final Voicemails” (Max Ritvo) and “Birds of the Pacific Northwest”.

What I’m writing: I’m working on a new poetry manuscript titled “why I hate to cry”. I’m also dusting off a novel and made a commitment to attend a workshop next spring to work on it.

What I’m submitting: Poems to impossible journals- so I can reach 100 rejections before the end of the year.
Risa Denenberg, Sunday Morning Muse with Sun, Son, and Mourning: an Update

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I hesitate to explain too much about any of my poems because I want the reader to have her own experience with art. That’s a sacred space to me. I will say the poem was inspired by actual events, and it is dedicated to the girls from Galveston County that did not get to grow up, like me. I have not forgotten them.

How do you decide when or if to explain your work? I’m curious. I think I’m more on the Cormac McCarthy end of the continuum.

TLR asked contributors to record our work and the put it on Soundcloud for free. I think hearing a litmag instead of reading it is a great way to enter these pieces. Despite the weird aversion to my own voice (many of us have this strange reaction). I think I will save the audible issue for my next long drive.
Lorena Parker Matejowsky, my daughter forgets to lock the door

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Great to be in Under the Radar alongside so many poets I respect, particularly Mike Barlow. However, I want to draw your attention to a friend of mine, Joe Caldwell, who teaches English in Sheffield. Not an easy thing to do, teach and write, but Joe manages it because he’s disciplined, and loves what he does.

Poetry’s not just about finding time to write, is it? It’s the push to send work out, deal with the rejections, edit, read something new, maybe start again, research magazines, track submission windows, try to go to a reading or two in between, attend workshops, read more, keep reading, berate yourself for not doing enough of any of these things, be happy for a fleeting moment when an acceptance comes your way, then worry that you haven’t got enough new work to send elsewhere.

And somewhere along the way, someone will have asked you what you do in your spare time!
Julie Mellor, Under the Radar

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I’m almost always suffering some dire form of suspense and trying to ignore it. Long publishing cycles are a large part of that–I have many mss out there and the odds of success don’t favor me. Often I can receive a rejection with a philosophical shrug, or go for weeks without thinking about a particular submission. On a rational level, I know it’s not personal, and it’s not helpful or healthy to get revved up over such extended, uncertain processes. But I am not rational every hour of every day. Ahem.

Because I spend so much effort trying to calm the hell down, it’s funny to realize I like suspense. In all forms of writing, it helps keep readers on the line. In novels and Netflix, I crave a zippy plot–strong characters in some condition of risk, to which events and feelings keep happening, unpredictably. In poems, I love that gasp-inducing opener that keeps you suspended, sometimes with a plot question (what’s going to happen?) and sometimes with another kind of problem, an image that begs unraveling or a pattern that needs resolution.

I started writing about poetry and suspense four years ago, for a book ms I spent a few years finishing and revising and am still in suspense about. I just reworked that material for a craft talk I’m giving Tuesday for the brand-new Randolph MFA in Creative Writing, at which I’ll be a visiting professor (seriously, click on that link and check out their regular faculty–Gary Dop is doing an amazing job). I hope to revise it again after this week’s adventures and send it out as an essay. In the process, I dug up a related blog from 2014, and it’s fascinating to see what I was in suspense about then: a ms, of course (it became Radioland), and a bad situation at work (which got worse before it got better, but is vastly improved now).

The latter involved a sickening rather than interesting variety of suspense, but a little suspense in life, as in art, can be good. I’m in many ways in a lucky situation, but I don’t want my life to be exactly the same or completely predictable for the next twenty years. That’s partly why I drafted a novel a couple of years ago, to try something new and see where it took me. I revised it heavily this spring–not for the first time!–and it’s now with a second reader at a small press I greatly admire. I’m in suspense about it, but the reader is expecting twins soon, so she’s in rather more suspense than I am. I need to cool my jets. It’s not easy.
Lesley Wheeler, Poetry and suspense: more twists

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Some of my little wins this week have been poem-related. Something happened Monday morning and I woke up with ideas for poems and they’ve been coming pretty steadily — five fully-developed — but naturally in need of time and reflection and editing — poems so far this week, which is actually more than double the amount of poems I’ve written in the past six months.

Something that might be “problematic” is that they aren’t poems that are part of the Repeat Pattern project I’m working on with M.S. and neither are they part of the verse play, but such problems are welcome problems. It’s nice to write something and afterwards recognize that it’s not just a “clearing of the throat” or merely evidence of “showing up” to the page . . . which so much of my morning writing has been these past few months.

In other-wins, I received an email from the Bread Loaf Sicily program this week asking for the manuscript that we’ll be using during the week-long workshop in September. While I’m not overly anxious to be in a workshop again, it’s a nice reminder that within two months I’ll be in Italy, far far away from Long Island and Stuffolk and all its nonsense, and part of a small literary community for a few brief days (something I am looking forward to doing again).
Sarah Kain Gutowski, Setting Small Fires (My Week of Mood Swings, Poem Writing, and Demolition)

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Since returning home from Sicily, I have been steeped in creative work and tending our vegetable gardens, which are growing by leaps and bounds. […]

I have been writing a lot of essays and poems, trying to recapture the best of the experience. […] Thus far, 3 poems and two essays have been selected for publication. What a thrill that is, especially when it’s challenging to make scenes as poignant as being there.

Maybe that is always the challenge. Besides writing about Sicily, I have been working on my 100 word story collection. Hoping to put together one hundred 100 word stories. I am writing 1-2 stories a day. Everything and anything can trigger a story. The characters, for the most part, are quirky and behaving badly, or are strangely righteous, or just trying to get by, day by day, and make sense of their lives. These stories are so different from my poetry, and I am having a lot of fun writing these terse ironic scenes. It’s deliciously wicked, letting readers “see” the underside of situations.
M.J. Iuppa, Oh Sicily, I miss you…

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Q~What’s one piece of advice you want to share?

A~Short-form poetry is addictive, and I don’t mean that in a positive way. There are an endless number of publications to submit to. There are an endless number of contests to enter. And it is very, very easy to get caught up in the fray of accumulating accolades and credits and comparing. I know I did. If you begin to compare your creative trajectory to someone else’s, you will run the risk of extinguishing your own unique fire.

Q~You are also a visual artist. How do you balance your creative interests? How do they interplay if at all?

A~At this point, I have come to the conclusion that there is no way I can be successful at all of my ventures all the time, which has been a freeing and humbling revelation. There are times when I want to write poetry and only poetry, and then there are times when I feel compelled to exclusively create in a visual manner. I try to follow my inspiration and not force anything. Because I am both a poet and visual artist, people frequently ask if I’ve tried haiga (a combination of art and haiku). Believe me, I’ve tried it. I’m terrible at it, and the irony of that isn’t lost on me. But, I am OK with that. I enjoy poetry for what it is in my life, and the same goes for my visual art. In many ways, I like that they exist in separate spheres.
Bekah Steimel, Far From Home / An interview with poet Tiffany Shaw-Diaz

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I’m an inveterate recycler. I have a compost pile and six chickens so I can turn food scraps into soil and eggs. I love repurposed items: quilts sewn from old clothes, wind chimes made of bent spoons, collages of torn magazine pages. Therefore, I was delighted to discover that poet Eileen R. Tabios has created a database made up of 1,167 lines of her own poetry, selected from 27 of her previously published books.

She calls it the “The MDR Poetry Generator” (I referred to this in the July 16, 2018 issue of Sticks & Stones, which includes a review of Tabios’ book Love in a Time of Belligerence). Her new book Murder Death Resurrection (2018 Dos Madres Press) describes the five-year project of creating this database. In the introduction she writes, “The MDR Poetry Generator’s conceit is that any combination of its 1,167 lines succeeds in creating a poem. Thus, one can create – generate – new poems unthinkingly from its database.”

Each line in the MDR database starts with the words “I forgot.” Tabios writes, “Through my perceptions of abstraction and cubism, I’ve written poems whose lines are not fixed in order and, indeed, can be reordered.” I find this non-linear aspect wonderfully liberating. I can see its application in teaching poetry to children, or to people learning English, or as an exercise in creativity. (The book includes a teaching guide and workshop suggestion.)

Tabios’ database inspired me to create my own repository of poetic lines, but instead of using published poems, I decided to search through my old notebooks and journals…
Erica Goss, How to Create a Poetry Database

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Last year my friend Hayden Saunier, a poet and actor, came up with an idea to change up what a traditional poetry reading is like. She invited a handful of people to a meeting at her house, and there No River Twice was born.

No River Twice is a poetry improvisational group. Our group poetry readings don’t have planned reading lists, reader orders or themes–they’re completely spontaneous and responsive to audience input. At a NRT reading, the poets take cues and suggestions from the audience and each other, so each performance is unique, the poems interconnect, weave and flow in a unique way that connects the readers to the listeners. We’re not inventing new poems on the spot, but we’re inventing new synergies, which makes each performance collaborative and new.

We held our first public performance in January at Fergie’s in Philadelphia, and have had a few since. Our next one will kick off the new Caesura poetry conference in Phoenixville, PA, August 17.

It’s hard to explain exactly what NRT is, so you should just come to one of our events–it’ll change the way you think about poetry readings.
Grant Clauser, Check out No River Twice, Poetry Improv that’s Never the Same Reading Twice

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I’ve been laying a little low while dealing with MS symptom misery, but not low enough to avoid reading about scandal after scandal this week! A woman scams the literary world (and I mean, why would you target the literary community? It’s a community without a lot of money. Go pick on a richer group! And she was particularly targeting feminist writers. Did I mention I think I was Facebook friends with her at some point in the past?) And another literary agent was just accused of fraud, even writing fake letters with offers from presses to writers she worked with. Yikes! Writers beware, indeed. And a terrible poem that offended about just about every group that exists was published and that also caused a scandal. (Note: Persona poetry is not a crime, but maybe try to avoid taking the identity of someone who might be underrepresented…Also, it was not a good persona poem because it relied too much on obvious cliches…The editors of the magazine involved are really nice, hyper-socially-aware writers, which begs the question of…well, hey, even good editors have off days…) I tried to avoid getting too involved in the scandal and gossip maelstrom on Twitter etc. It is funny how many people would rather get together and hate on a poem than ever ever talk about something positive about a different poem. Ah well. Such is social media. Which brings me to the importance of in-person writer time!

Much more uplifting – real life time spent with real life writers! Spent a whole lovely day with Kelli Russell Agodon talking about our latest poetry manuscripts, the poetry world, and, bonus, I got a 20-minute Instagram tutorial on hashtags (which I needed because I am still so clueless on Instagram.) Glenn put out strawberry cupcakes and sparkling rose from the winery next door and it was just so nice to relax and spend time with another writer one-on-one. Plus, I was able to tackle my manuscript revisions the next day, so now I feel like I have a better, more complete version of my manuscript to send out.

Glenn and I drove Kels down to the Edmonds ferry and hung out on the beach to watch her leave. The sunset was beautiful and the breeze off the Puget Sound was perfect.
Jeannine Hall Gailey, Heat Waves and Poetry Scandals, Poetry Writer Dates, and Sending Out Work in the Summer

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Over a decade ago through the magic of the internet and the wonder of email, I “met” a poet who lived far away in the southwest named Lisha Adela Garcia. We never met in person, though.

Lisha was putting together her very first full-length poetry collection and thought I might be of assistance. I’ve worked as a poetry manuscript organizer and editor for many years, and I was delighted to take a look at her poems.

The poems were amazing of course! And they turned into her wonderful, acclaimed collection, Blood Rivers, published in 2009.

Through the magic of web ether, Lisha and I have stayed in touch.

But despite never meeting in person, I always felt we had a deep connection.

The connection of our mutual love of poetry, certainly.

But it felt like so much more, too.

A soul connection, if you will. Maybe you’ve felt that too?

As if our life experiences sent us along similar paths.

I’ve always wanted to meet Lisha, hear her voice in person, look into her eyes.

And last week, I finally got the chance as she passed through my town on the way to a reading for her newly published book, A Rope of Luna.
Lana Ayers, Friendship Across the Ether

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So many. So many. We are
not alone. We are together.
We are a forest in autumn,
full of ripe fruit, bright fruit, bright words
to carve the light, the light that carves

us. We are sharp, crisp with edges,
with wounds. We are soft, moist and warm
as if coming out of ovens,
out of caverns, weak with hunger,
fading, yes, but first, branches blaze.
PF Anderson, Leaflet

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After some readings on metaphor and language, I tackled A Grammar of Metaphor (1958) by Christine Brooke-Rose. Admittedly, I was hampered in my reading by my lack of facility in the jargon and structure of what used to be, but is no longer, “basic” English grammar. It did help that I have read The Trivium and could refer to it now and again; and of course it helps to have a background in poetry and literature, though not one nearly as thorough as Brooke-Rose’s. I definitely can add this one to the “difficult books” I have enjoyed, and benefited from, reading.

The grammar part of metaphor was not something I took into much account when I studied poetry. Certainly, when I read for pleasure, I do not analyze for grammar. Poets often experiment with grammar–altering syntax purposefully, creating sentence fragments, run-on sentences, new compound words, jarring phrases, all in an effort to make something happen in the poem. That “something” may be sound, dream, argument, exhortation, emotion, surprise, pattern, recognition, or a matter of perspective on outlooks, worldviews, culture, tasks, the personal. I do not read for such insights until I want to return to the poem and find out how the poet managed to make the amazing process of language work upon me.
Ann E. Michael, Difficult books, iterum

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In the ever-astonishing Brain Pickings, Maria Popova’s treasure trove of ideas delivered right to my email inbox, I read some excerpts from Mindset: The New Psychology of Success by Carol Dweck. Dweck’s idea is that there are two types of mindsets that people have about themselves, mindsets that shape how we think about ourselves and the challenges we meet in life: the fixed mindset and the growth mindset. She says this: “When you enter a mindset, you enter a new world. In one world — the world of fixed traits — success is about proving you’re smart or talented. Validating yourself. In the other — the world of changing qualities — it’s about stretching yourself to learn something new. Developing yourself. In one world, failure is about having a setback….It means you’re not smart or talented. In the other world, failure is about not growing. Not reaching for the things you value. It means you’re not fulfilling your potential.”

And as usual these days when I consider something presented as a duality, I think, yes, and yes; therefore, no, the idea of a duality is just not appropriate. Spectrum, maybe. Spiral, perhaps. Of two minds, probably.

At any given moment, confronted with any particular challenge, I enter both those mindsets. What I do next depends on which one wins, which one wins depends on any number of factors, including how motivated I am with regard to the particular challenge, how distracted I am by something else outside of the particular challenge (hunger, having to pee, whatever), who I’m imagining is my judge and jury if I am imagining one, and what the next required step might be.

I used to play a fair amount of tennis and never got much better at it. At first I had a growth mindset, then, after I while, I had a fuckit mindset. I mean, a fixed mindset. Fixed on never playing that stupid fucking game again.

Often when I get a writing rejection, my thinking goes something like this: oh-crap-why-do-I-suck-I’m-so-not-good-enough-not-smart-enough-I- quit-okay-well-wait-maybe-I’ve-learned-X-about-this-and-so-I’m-going-to-try-this-new-approach. Or sometimes I think: okay-I’ve-tried-X-and-Y-and-Z-and-learned-these-things-but-I’m-not-achieving-what-I-want-and-seem-not-to-be-particularly-good-at-this-and-am-tired-of-trying-so-I’m-going-to-stop.
Marilyn McCabe, I’m Rubber, I’m Glue; or How Mindset Affects Action

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Roy Marshall’s poems in the Traces section of his latest collection, The Great Animator (Shoestring Press), are inspired by his nursing experience in coronary care and research. Self-effacing to the last, Roy is one of the most talented writers I know. Having read the collection soon after its publication last year, I was pleased to hear Roy read some of these poems at Lowdham book festival, last month.

My pre-ordered copy of Josephine Corcoran’s What Are You After? (Nine Arches Press) arrived just in time for me to read it from cover to cover before her launch reading at the Nine Arches Press tenth birthday bash. I was particularly pleased, then, that she included ‘Love in the Time of Hospital Visits’ among the poems she chose to read on the day. To say that I identify strongly with this poem is an understatement. You can read it here on the Bookanista site.

Poet and indefatigable blogger John Foggins has around 70 years of ‘form’ with the NHS. Last year, he invited his blog readers to send him poems about hospitals and their experience of them. They make for interesting and varied reading. You’ll find them all in his How Are You Feeling? series of posts starting here.
Jayne Stanton, One year on: Thank You, NHS!

*

J35 carries her dead baby on her rostrum. Days pass. She doesn’t eat. Her human guardians say we won’t give up as long as she doesn’t.

I cry suddenly, helplessly, seeing her photograph, the beloved corpse pushed on her exhalation.
JJS, July 27, 2018: bad trouble

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Something blue,
this poem, the color of robin eggs,
the color of robin song,

of this day, holding us together
against gravity
for the rest of our lives.
Claudia Serea, Against gravity

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 27

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you’ve missed earlier editions of the digest, here’s the archive.

It’s high summer in the northern hemisphere, and for many poets this week, that seems to have triggered reflections on productivity, perhaps because for most of us, poetry writing is something we look forward to doing on vacation. I guess that’s good, because it implies that we think of it in part as a leisure pursuit, an avocation as much as a vocation. Summer’s also the time for poetry festivals, writing retreats, and of course, extra reading. I’ll admit, I don’t always find hot, humid weather conducive to good writing myself, in part because it’s so damn hard to sleep…

Head-exploding insomniac connections firing: Athena and Penelope
incarnations of each other, all a plot device, see, and Pan, there’s always Pan—

(Get it? Get it?) What, she thinks suddenly, is even happening
to my arms
, whose flesh is this, so loom-muscled, weaving water itself

into story, into a new body with which kingdoms shall be run
by guile, yes, by wile, epithets carefully-chosen; Penelope and Odysseus

incarnations of each other too, and Circe, let’s not even pretend
she’s different from the rest of us, I could turn you all to pigs

and you’d be cleaner, ya Trump-voting motherfuckers, Circe said…
JJS, July 7, 2018: Penelope as Lady of the Lake

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I’ve bitten off way more than I can chew this summer and that’s just fine with me. I have work to do: a thesis adviser who needs to see ten new poems in the fall, a chapbook to assemble and send out to the masses, a bunch of poems on audio to edit, a podcast to create, 17 more hours of film to screen for the Austin Film Festival, a few graphic narrative poems to illustrate, four or five drafts of poetry blog posts started but not finished, and two essays to complete and send off for hopeful publication in a litmag. I’m in sweet, heavenly, artmaking bliss.

I really am. I love all this creation happening inside and all around me. It’s exciting and makes me happy. And ain’t nobody making me do this. It’s my own, wonderful, glorious work (sure wish I’d get paid for it, though). The only things getting in my way are a full-time job doing none of this stuff during prime “I feel creative” time, and the other full-time job of raising three precious children and taking care of my family, my home, myself.

This is not a sob story. You, dear poetry reader, may know just how I feel. Maybe not now but possibly at a different time in your life. I have learned to juggle and forgive myself and finally to just start, dammit, stop putting it off. That’s how the art gets made. That’s how the words are put on the page and the paint stays wet. Just trudging on.
Lorena Parker Matejowsky, 1000 words + two sylvias = making art

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Though I keep my poetry writing time consistent—not long, but everyday, with reading and notes—I find that my creativity and actual-finishing-of-poems varies, depending on what is going on in life. And, as cliche as it is, I suppose suffering does beget poetry.

I don’t want to go into detail, but I will say of all the problems we could have, ours is not a Dire one (it doesn’t threaten those I love in a permanent way) but it is a problem and a cause of Stress, though it is so romanticized (only in such wealthy societies can it be looked at as romantic to be an orphan or very poor). We have our health and each other.

But it is a sizeable problem with no easy solution and so I supposed that all my poetry writing would come to a complete stop as we wonder and pray and wonder. However, I’ve written more poetry in this month than I had in the earlier half of the entire year.
Renee Emerson, When Between a Poem and a Hard Place…

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I got back from teaching and had two days to unpack my suitcase. Then I re-packed it for the Berkshires. We made the seven-hour drive and I co-hosted a poetry symposium in a quirky new hotel space, TOURISTS; a reimagined motor lodge in North Adams, Massachusetts, thanks to the vision of Scott Stedman and Jeff Gordinier. There was hugs with Beth Ann Fennelly and Erika Meitner and January Gill O’Neil and finally meeting Rachel Zucker, new friends, poem-toasts, an oddly tasty spread of pork and Calabrian chiles on seed bread thanks to Cortney Burns, wandering through the woods to the chime chapel, more poems around an open fire, Jeff & company’s late arrival from the Esquire thing, touring Mass MOCA (Louise Bourgeois & James Turrell & Anselm Kiefer), lunch at Bright Ideas Brewing, a p*cha k*cha talk, broccoli rabe with wood-ear mushrooms, beet salad, more reciting of poems, live music from Sean Rowe (whose foraging expedition I’d missed earlier in the day while on the hunt for a digital projector), following Jan’s lead to talk about fostering inclusivity in the literary scene, finally meeting Laurie’s brother (which made me miss Mississippi), more beet salad, introducing some folks to Tommy Pico’s Nature Poem, learning one of my co-conspirators had been Tommy’s classmate, getting up to the top of Mount Greylock, and stopping off for a Sam Gilliam glimpse and dinner in Troy on the way home.

Issue 18 of Barrelhouse came out, with my essay on “Pioneers of the Digital Trail.” If you want an essay that name-checks Mavis Bacon, Carmen Sandiego, Number Muncher, The Oregon Trail, The Secret of Monkey Island, and pained teenage love affairs, this is the essay for you. You can’t find the text online–thank god–but the issue is for sale here, and they typically sell out every print run.

And somewhere in there, I wrote a 3,000-word craft essay about sestinas that is scheduled to run in American Poets.

The funny thing is that when I came here to explain my June absence, I felt nothing but a sense of failure–a silent blog, a wasted month, and a fixation on the deadlines that were missed and are still pending, rather than any of the ones met. This despite an envelope full of thank-you notes that arrived from the KIPP students. Don’t let the corrosions of the world fool you, friends. Please keep doing the good work that I know you are doing.
Sandra Beasley, June

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Turns out this is a good year for blackberries. The canes are loaded with fruit and weighted with vining wild grapes and honeysuckle. The latter bloomed rather late this year and are still putting forth fragrant flowers. The marvelous scent made berry-picking quite soothing.

Soon, the catbirds and orioles and everyone else will be harvesting these berries. Despite their thorns (which didn’t deter me, either).

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It has been far too hot to work in the garden, however; so I have been writing, and submitting work to literary journals, and even painting a little–something I have not done in years. Finding ways to be both creative and relaxed. Much needed.
Ann E. Michael, Berrying

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What a full-on week it’s been: a glorious mix of poetry, music and family. Consequently it’s Sunday evening already and I’ve only just sat down in front of my PC to write this week’s blog post.

The poetry highlight of my week was my first visit to Ledbury Poetry Festival. This has been on my wish list (recently renamed my Life’s For Living list) for some time, so I’m pleased that, at last, I’m able to put some of my poetry plans into action.

As Ledbury is a small market town, it was quick and easy to move between venues without getting lost (I found I didn’t really use the street guide I’d picked up at the festival office). The festival is extremely well-organised and executed with a warm and friendly vibe. Add to this an uneventful return road trip on well-behaved motorways, a spot of retail therapy along The Homend and an overnight stay in a thatched country cottage B & B: just the ticket!
Jayne Stanton, Ledbury Poetry Festival

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I wrote in June: I’ve been trying to juggle the availabilities of 7 guest poets against those of four or five possible venues. It’s like herding cats and knitting fog. I’m in open-mouthed admiration of anyone who manages to run a poetry festival. How are they sane afterwards? Right now I’ve not managed to book a single venue. At this rate I’ll be putting it off till September. We shall see. Well, I made all the arrangements. Lovely venues like the stunning Halifax Central Library which is stitched into the even more stunning Piece Hall, and also the splendid Hyde Park Book Club in Leeds. I bought drinks and nibbles and napkins and paper plates..all that. I ordered too many books from the printer. I had not allowed for hot weather nor for football. It was a delight to read with wonderfully talented poets…Gaia Holmes, Vicky Gatehouse, Alicia Fernandez, Tom Weir, Ian Harker. It was a shame that we almost outnumbered the audience. But gods bless the ones who came, anyway. Was it worth it? Yes. It’s always worth it. Why write, otherwise. And there’s still one launch reading to go. Fingers crossed.

There’s been furniture moving, and painting and decorating, and mixing cement and raking-out and pointing, too. Some wall mending, thrown in, and more to come. It all distracts from ‘the work’, and the less you write, the less you write, and then you get frustrated, you lose all the carefully hoarded vestiges of serenity, and you might just lose your temper and do something(s) you regret.
John Foggin, The tigers of wrath, and an (un)discovered gem: David Spencer

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Usually the summertime brings a flurry of activity to my part of the country, people desperate to get outdoors and in the brief season of sun, and usually also unofficially doesn’t start until the day after July 4 – and this kind of weather is why. By next weekend we’re supposed to be back in the sunny seventies, and I hope I’m over this cold/MS double-hit by then! I’m not a sun-lover – MS folks are supposed to avoid sun and heat, and I was allergic to the sun since I was a kid (hence my lovely vampire-esque complexion, LOL.) But the long string of grey days gave me time to think about how I’m spending my time, how much time I should give to political activism vs arguing politics on social media, to dealing with insurance/prescription/medical-related nonsense (it could literally take over my entire life if I let it, but it’s dangerous to ignore it) and writing new work vs revision vs manuscript shaping vs submitting vs writing. How much time I can afford to spend alone in nature, which seems to me to be restorative both health-wise and spiritually. I’m usually a go-go-go type of girl, but MS has taken a bit of that out of me, and being a bit slower and more deliberate hasn’t actually really made my life worse, though I often feel frustrated by not “getting enough done.” I have to quit judging my life by the amount I get done, and start appreciating the good things that happen without a deadline, outside of time.
Jeannine Hall Gailey, Poems in Tinderbox, a New Review of PR for Poets, a new Poetry Star, and Summer Downtime

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Time to lounge under lamplight
or a fan, at least, in this solemn sweatbox town,
sin city, hidden city, dark city. What kind
of city is it? The kind where “They say it’s your
birthday” gets bellowed out on Facebook, and Facebook
denizens bellow back (not at all concerned with
the shadow behind the curtain, the sooty shoes
poking out from under the bed). It’s never time,
never the right time.
PF Anderson, Black Birthday

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I’m getting a perfectly respectable amount of work done for an empty-nest academic in the summer, but so far, no holy miracle of ramped-up sentence success. I spent June enacting deep revisions to my novel manuscript, responding to very good advice I received from a small press, and we’ll see where that goes. I enjoyed concentrating on it, at any rate, and it’s definitely a way better book now. And I’m a better writer for having undertaken the challenge.

I’ve also been reading in all genres, working on submissions, and writing a few poems, although I find tuning my brain to fiction-writing makes poetry harder. I’m now revising a couple of essays and finishing research for a third–I’m visiting an archive near Richmond on Tuesday, so Chris and I will stay overnight and share a fancy dinner, maybe visit a museum. I really don’t know yet how much I’ll finish by the time September hits in all its frantic glory. I’m trying not to worry too much about that, either, although being zen about the passage of summers and outcome of my labors–well, it hasn’t been my specialty. Working on it.
Lesley Wheeler, Prove or disprove and salvage if possible

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I had been working on a multipart essay when I wondered if it was really a sectioned poem. So I spent days and days easing, tapping, tweaking, clipping each segment into lineation, attention to rhythm, structures, and all the various things that poetic forms allow/require of us. And now I’m not sure it works. But the process has been interesting.

On the one hand, the poeming process helped me make the language and sentences more taut and efficient, catch repetitions, reorder thoughts. Creating lines allowed me to inject additional suggestions into the ideas, or even with a line break subvert what I was saying, or at least question it.

But too often, the lines gave gravitas to places I didn’t really want emphasized. It made some ideas too weighty, too self-important. Some ideas I wanted to slip in with more subtlety, subtlety that demands of lineation did not seem to allow.

So I’m going to take the newly taut language and spread it back out, give some good fat back to some of the sentences, allow a more languid pace.
Marilyn McCabe, Formtion, Functiorm; or On Navigating Form and Function

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E-grazing to Eureka

Mindlessly scrolling through Facebook, Twitter etc. is one classic way most of us procrastinate, right? Let us turn this ‘e-grazing’ to account. When you see something that you want to comment on or share – a meme, a line in a message, a snippet, a poem or a quote – do that, but also screen-shot it and save it. That word or line that made you go ‘wow, cool!’, ‘lol, that’s hilarious’, ‘that’s so me/us’, ‘ugh, what an idiot!’, etc. – it made you think and feel, however fleetingly. A few hours or days later, go over these fragments that found echoes within you, and you may just see new poems taking shape from and around them.

Poetry in Foreign Languages

One way to reconnect with the form and sound of language is to listen to a poem or a folk song in a language you do not know, or one you know just a little, so you can connect to its rhythms but block out the meaning at will. You can go for a softly chanted poem, like biya o josh e tamanna, where you can immerse yourself in the melody, but in one’s more restless humours a faster tempo can also be welcome ex. Laila O Laila. Free-write to the song on infinite loop, just listen to it and brainstorm, or write your own ‘imaginary translation’, etc.
Seven Selcouth Sources of Poetic Inspiration – guest blog post by Hibah Shabkhez (Trish Hopkinson’s blog)

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As I walked, I paid attention to the trash that I saw. It will all be picked up by later today, but for now, random pieces of trash lined the Broadwalk. I was most struck by the debris that once we would have hauled home: coolers, umbrellas, a variety of clothes.

In a history class long ago, our teacher reminded us that most of what archaeologists discover comes from digging in the garbage dumps of former societies. I often wonder what future archaeologists will make of our trash. Certainly they will comment on the huge amount of plastic.

This morning, I looked at all the trash, both the collective version and the individual pieces, and I thought about the symbolism. What could we learn if we use this trash as a symbol?

I plan to write a poem on this very topic. What will you write as the week winds down?
Kristin Berkey-Abbott, Poetry Prompt: The Morning After the Day Before

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Once back at camp and we’d traded our hiking shoes for flip-flops, we gathered in a loose circle, drinks and snacks within reaching distance. Suddenly, Jonathan said, “Uhhh, guys?…” and pointed to the road that ran through the campground. There was a snake, crossing the road.

Of course we all popped up to investigate and that’s when we heard the telltale rattle of its tail. Yup, a rattlesnake. Eventually the rattler made its way to the woods — away from our tents, thankfully — and we carried on talking. But the image of the snake, its beautifully slinking body, stayed with me.

Once home on Sunday I perused Twitter and came across Mary Oliver’s poem, The Black Snake. I knew then I needed to write a poem about the snake that appeared at our campsite.

The poem is still a work in progress but I’m excited about nature inspiring a poem. What are your favorite nature poems?
Courtney LeBlanc, A Week of Work

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Your latest book is New and Selected Poems. What will readers find inside? Obviously new work but also poems culled from your previous two collections? Tell us more.
This book was born out of a drunken love affair between myself and my editor at a Manhattan dive bar. I was originally going to release a third collection called Human Algorithm that fused my twenty years in the tech industry with trying to find sex and love with strangers on the smartphone apps. But since I’ve decided to focus on fiction and autobiography for the next few years, New and Selected has become a magnum opus for me. The poems I originally planned for the third collection are in here, plus work from the previous volumes and other unreleased poems from early in my writing career.

You, like many other artists these days, operate outside the mainstream – using micro/small presses or self-publishing to get your work to readers. That method was once frowned upon, but has now become commonplace. Any regrets?
I know it was once frowned upon, but times have changed. I read Rupi Kaur’s collection, Milk and Honey, last year and it’s brilliant. She began her career by posting poems on social media. You do whatever you can to make your voice heard. Unless someone’s going to give me a million-dollar book deal, my poetry and graphic novel publications will remain 100 percent in my control. I had a nasty experience with a publisher with my first collection and it left a bad taste in my mouth. So, I figured out how to do it on my own and it’s been great.

You seem to have written a lot of work, but aren’t in a rush to publish it. Most authors are burning up to get their work out there.
Yes, I have a backlog and it’s wild. I’ve written eight children’s books and I also have another graphic novel called The Philadelphia War, which should be out in 2019. I’ve started an autobiography and I’m deep into writing a dangerous, fucked up novel set on Wall Street. That book actually is my main focus right now. I also have a novella called Midnight that I wrote for five years and it’s just sitting there.
Collin Kelley, He’ll Take Manhattan: An interview with poet, writer & photographer Montgomery Maxton

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Francesca Bell caught a lot of attention with her poem I Long to Hold The Poetry Editor’s Penis in My Hand. I mean it’s hard to overlook a good penis poem. Bell, however, holds a special place in this poet’s heart because her talent has come without a formal writing education background. Reading her work you would never know it. She has carved out a very successful non-traditional road on her poet journey. Her publication credits are lengthy and include River Styx, North American Review, Rattle, Prairie Schooner, and Crab Creek Review to name a few. She has had at 6 Pushcart Prize nominations and been a finalist in several notable poetry awards.

In December of 2014 Bell had five poems published in Pank that are riveting. They touch on the delicate subject of children sexually abused by priests. These poems underscore something about Bell that I especially appreciate in a poet, a fearlessness in writing. I want to write as fearlessly as Bell does. Who wouldn’t, but it is not easy. In her poem Regrets, she talks about undressing every emotion and how silence is a too-tight dress I can’t wait to escape. She is genuine. Her writing has a depth that can be peeled back like layers of an archaeological excavation, or she can turn one her humor on the page and entertain you.

Another remarkable thing about Francesca Bell is her translation. She translated the book A Love That Hovers Like a Bedeviling Mosquito by the Palestinian poet Shatha Abu Hnaish along with Noor Nader Al A’bed. This book is a collection of largely tender verse that I often go to and reread parts of each night before I go to sleep.
Michael Allyn Wells, My 2018 Poets Crush 6 Pack

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When we first read the poems, students talked about how and why the poets had used or not used punctuation, spacing, keyboard functions (crossing through text in Chan’s poem). They suggested that Rebecca Perry had used this spacing to perhaps replicate the to and fro conversation that was taking place between a father and an adult child in a car (they worked out the ‘child’ was driving so must be at least 17 or 18 years old). They thought that perhaps someone had died, perhaps one of the father’s parents, and they were driving to or from the funeral.

Then they discussed times that they had had conversations with a parent or grandparent, and had a go at writing their own poems using the same lay out as the Perry poem if they wished. They could also borrow some of the poet’s phrases if they got stuck. This gave students the space to write about reflective, intimate conversations they’d had with an adult they trusted and were close to. One student wrote about chatting with their grandmother while shopping, another wrote about gardening with their Mum, another about walking with their Dad. Students shared snippets of advice adults had given them (as Perry does “remember, if you get married, to pick a ring bigger than your finger, because your fingers, like your mother’s, swell slightly in the heat”.) Often these poems were tender and moving, and even if the conversations were stilted and awkward, humour and love shone through.
Josephine Corcoran, Poems that find a way to say what isn’t said #writerinschool

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At the publication of Empty Clip, this is how Emilia Phillips introduced it on her twitter feed:

This is my “book of fears”

It is true there is much fear in these poems–molestation, animal murder, hotel fights, campus shooters, prior tenant on the lam, suicide, self-inflicted gunshot wounds, and on and on, poem after poem of frightful situations and the poet’s responses captured in pristine time capsules. So stomach up, because the rewards here are large. Phillips has developed, in this book, the uncanny ability to put the reader right into the scene of the poem, through exposing meticulous authentic details accompanied by pinpoint emotional responses. You feel these poems as much as read them.

While reading, I highlighted a number of phrases–way too many to share here– that struck me as prophetic. A warning. What can happen. What does happen. What has happened. What might happen again at any moment.

Lie down,
said the grass to the sky.

the same
stiff casualness of someone
pretending they’re not on guard

another girl in the class said, “Girls
get raped all the time here I don’t know why
this time was so special.”

back when I was looking down the barrel
of days of grief

how the bullet grooved clean into the skin below
her clavicle. A button hole
a baby’s mouth.

So yes, there is pain, distress, frightful memories. You already know about that, even if you haven’t been as close to the barrel of a gun as Phillips has. This happened. Face it with me. Feel it with me. And so, make it bearable or at least help me to resist.

But. Then. There is the lyricism– the translation of facts into emotions into lyrics, a skill Phillips is expert at. This is the balm of language that demonstrates how horrifying experiences can be digested, how poetic sense can be made of of terror.
Risa Denenberg, What I’m Reading: Empty Clip

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Q~Who was your poetry first love?

A~My first poetry love was Nikki Giovanni. Her work is so practical, honest and revolutionary. When I tumbled across her poetry in a college library during my first years of undergrad, I had never heard a black woman so self-assured and intelligent. Her poetry not only showed me how to better use my words, but it helped me mature as a black woman and writer. Ms. Giovanni’s work taught me confidence, sincerity, and how to be relatable.

Q~Who are you reading now?

A~I just picked up Ocean Vuong’s Night Sky with Exit Wounds and cannot put it down. I was also just reading Charles Simic’s Scribbled in the Dark. I like contemporary poetry, but I really appreciate classics, too. I am also looking forward to reading Chimamanda Ngozi Adichi’s Americanah before summer ends.

Q~What’s one piece of advice you want to share?

A~The poem will never be perfect. I often hear people say that they have never submitted a piece of work to a publisher because they have been editing it for a year. I’m like, “let go and give it to someone who needs it.” We write not only for ourselves but because there is someone who needs to hear it. I think as writers we tend to get obsessed with our work. If you can take a deep breath, close your eyes, and feel calm after editing your work a few times, let it go.
Bekah Steimel, Maybe / an interview with poet Kay Bell

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 19

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you missed last week’s digest, here’s the archive.

This week, poets seemed especially cranky. Or maybe it’s just that I’m cranky, so I’ve been gravitating toward posts that reflect my mood. But I’m pleased to see the poetic blogosphere in such good health. I’ve been off Facebook for two weeks now, and surprisingly, I don’t really miss it all that much… thanks to Twitter and Instagram, LOL. I do like having places to post mind-farts, snapshots, and other ephemera; it makes for a less cluttered blog, among other things. But I was pleased to see that one of the co-founders of the Poet Bloggers Revival Tour, Kelli Russell Agodon, has also left Facebook, at least for the time being (see below). Is this something we should think about doing collectively? Is there a better, less bad-boyfriend-like social media platform where we should gather instead? Or should we return to more tried-and-true ways of building community, contributing to the conversation, feeling recognized and being seen?

I spend a lot of time editing and mentoring and talking about making a sustainable writing life, but at the same time I find myself relying so much on “positive feedback” in order to propel myself forward. I think I have less, not more, confidence as I get older. Is that unusual? I suppose I’ll find out eventually.
Mary Biddinger, Take on May

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Welp, in other good news, after all of my griping and whinging and whining, the universe has thrown me a bone. I’ve been accepted into the Bread Loaf Sicily program for September 2018, which means that while I may not be doing a sabbatical or a true residency next semester, I will be granted five precious days at the end of the summer to concentrate on my writing.

In Sicily.

Thank you, Universe.

Obviously, it’s been uplifting to receive good news. On the other hand, I am seriously veering into burnout.
Sarah Kain Gutowski, Effusiveness and Mania and Other Qualities You’ve Come to Expect From This Blog

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I’m so grateful and utterly blown away by this in depth and thoughtful review of my chapbook Footnote by Janeen Pergrin Rastall published by Connotation Press this week.

Rastall’s careful reading and insight captured so much of what I was after in this collection of poems. Her familiarity with the work of the writers and artists who inspired these poems was not only on point, but touching in so many ways. I couldn’t be more honored by the time she spent with my work and in writing this review!
Trish Hopkinson, “Book Review: Footnote, by Trish Hopkinson” – by Janeen Pergrin Rastall via Connotation Press

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I am so stoked to have been invited to be Poet-in-Residence at the Seattle Review of Books for the month of May. What this means is that each Tuesday a new poem of mine will appear on the site with a small tag that states, “Susan Rich is this month’s Poet-in-Residence.” There’s something about being offered this platform by Paul Constant and Martin McClellan that makes me feel a bit more connected to my city. A bit more located.

This week, my poem “Profiled” is featured; a poem about a student I had a few years ago who was both more fascinating and more frustrating than most who had come before. It is exhausting to be challenged on each word, each sentence, each assignment. And yet. He was engaged with his educational experience and wanted to learn. For the very last reflective assignment, an assignment that students had the option of writing as a letter to me about their experience he wrote: “I no longer feel the need to be invisible. And I thank you for that.”
Susan Rich, Poet-in-Residence for the Month of May @ Seattle Review of Books

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I was sitting on a sofa in the Taliesin Arts Centre on Swansea University Singleton campus and somebody came up and said, “Hello, Giles.” That sort of thing doesn’t happen to me often, certainly not on a university campus where I was last a student 24 years ago! Back in March I sat in on a Long Form Fiction 2 module workshop given by tutor Jon Gower, and it was the very same man who had recognised me and sat down to chat and, eventually, guided me into the auditorium to listen to the Dylan Thomas interviews. He mentioned that he’d seen my photo in connection with the Abergavenny Writing Festival. I think that is something I’ve always done — attending things. That is my best guiding advice … don’t just go to events you’re performing at, attend other events too … faces do get noticed and me travelling to Swansea to support the Dylan Thomas Prize and its shortlisted authors is as important as me being photographed as a performer on the last night of Abergavenny Writing Festival. I would share the Abergavenny Writing Festival photo with you here but, as with any photo, I cannot tell which one I’m in … you’ll just have to take my word for it, I was there ;)
Giles L. Turnbull, Shoot the Poet!

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Let me start with the card. On the left is a photo attached to a homemade card from someone who I believe I first had contact with several years ago as a result of an April – Poetry Month Book give-a-way. This kind person sent me this card wishing me a happy Easter, it went back to her because we had moved and the post office did not forward it. She messaged me for my new address and resent it. There was a personal note in it, she shared a story about visiting the 9-11 memorial and enclosed a SF Giants window decal. Marianne is aware of my love of baseball and all things SF Giants. […]

Over the years the mail has changed. Drastically so. In fact, I rarely if ever get so much as a bill in the mail these days. I’m not complaining. Part of that is because I have almost no bills any longer, but also because account statements are usually available to me online. What I do get, is an ever-increasing amount of junk mail. This mail offers me everything from hearing aids to timeshare get-aways. There are siding offers, new windows, funeral plans, car deals, and God knows what I’ve pitched without delving too deeply into specifics. Rarely do I ever receive personal mail. Again, the arrival of a new book is about as good as it gets.
Michael Allyn Wells, Confession Tuesday – Mail Edition

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This morning I received a fat paper letter from a writer and friend–it’s so marvelous to get a letter on paper! The internet has swept away such things, except for those who rebel against its winding tentacles, its sneaking power. Luckily, I know such persons.

And one of the things he asked me was why I capitalize the start of lines in poetry. […]

For me, a capital letter at the start of a line frames the line, separates the line, and forces the writer to think about the whole with its relationship to the part in a more focused way. To pluck an image from Modernism, it is like a tiny Joseph Cornell box; it needs a certain richness of sound and meaning, even when spare. Like meter and like rhyme, this framing of the line is yet another form of discipline that I set as a bulwark against the an era in which the short, self-focused lyric has dominated to the point of banishing poetic drama, long narrative, and a whole wide range of once-useful poetic modes. (Although I simply woke one day with it already in my head, Thaliad must also be part of my own rebellion against such a narrowing of poetry.)

In my own writing, I’m not attracted by the syntactical shiftings and disconnections that provide an uneasy order to so many lyrics, often suggested as the natural result of the disjunctions and chaos of “today’s world”; I’m concerned with a wholeness and clarity constructed from well-made parts. Whether or not I succeed, the framing of the line makes me more conscious of those parts, sets up a demand that each one work and be worthy. […]

Like every obsessed writer, I have made my many choices. Long ago, when such jobs were hard to obtain, I gave up a tenured job to write, to escape from a realm where poets were part of and supported by the many-tentacled system of academia. Since then, writers have made most of their income and their useful connections in academia, so it was a bad decision in a worldly sense–a bad decision in terms of worldly success and support from the system. But I persist in thinking it was the right sacrifice for a poet and writer. Outside those bounds, I have worked and groped and thought my way, making books as I felt it best. Whether I have made my choices rightly or wrongly is not for me to say. But it is essential for me as that odd creature called a writer to have made them. For a writer, for a poet, it is essential to know and follow and sometimes change those choices. That little, seemingly-wrong choice of the initial capital is, for me, one of many decisions that have made me the sort of writer I am.
Marly Youmans, A capital choice

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When someone says of a movie “the special effects were great” I don’t bother to go. If that’s what the movie was then it’s not what I want to do with my time. When poetry does fancy things on the screen, or if I can “interact” with it, it better be worth my while in terms of what I get out of the experience. I can be impressed, sure. I can be diverted, yes. I’m easily distracted from tasks at hand by something shiny and moving. But give me yourself, not what your technology can do.

I struggle with this in making videopoems. My grasp of technology and visual arts is tenuous, my understanding of what sound can do rudimentary, and my distrust of the way emotions can be manipulated by sound is high, but I stick with it. Because this is the era of the audiovisual milieu, and I’m interested to explore how poetry can be engaged actively in it.

I watch a lot of videopoetry. Most of it does nothing for me, I’ll tell you the truth. Often the text puts me off. (But as I’ve discussed here, I am having a problem with much contemporary poetry, and I know the failing is often mine. But sometimes a poem that is a string of barely connected lines is just a bunch of barely connected lines.) Often the visuals are repetitive and flashy for no purpose that adds value to the equation: text+visuals+audio=videpoem.

The end product must be more than the sum of its parts. How to do this? Damned if I know.
Marilyn McCabe, Burning Bright; or, Innovation and Authenticity in Videopoetry

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I start to sober up, the day is wasted. I spent my hours on magical beans that grew nothing, plus I’m out a sandal.

I’m annoyed with the world and its terrible news. And I realize my boyfriend has been making money off me– it seems he is paid for the time I spend with him because ultimately, he has stuff to sell me…and he has people who work for him that want my attention. And the more I show up, the more money he gets, which seems like a terrible deal. I lose hours of my one-time-on-this-planet and he gets a revenue stream?!

So Facebook, I am breaking up with you.

I am taking a break to reclaim my time and my mind. But with any truly dysfunctional relationship, I know I’ll be back, as I always seem to return. Facebook is like the boyfriend I don’t need but who always has the best snacks when I’m hungry for nothing.

But I’ve gotten better at staying away from you even longer because I realize, the secret to Facebook is 1) The less you’re on Facebook, the less you want Facebook. Like Fight Club except instead of hitting yourself in your own face, you’re actually writing blog posts or poems. You’re actually sitting in a lounge chair in your own backyard reading American Poetry Review and Poets and Writers.
Kelli Russell Agodon, Breaking Up with My Boyfriend, Facebook…

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I find that most often the biggest frustrations I find in writing are when my visions for a project / poem / etc don’t match up to my ability to execute. More often than not, my ability to execute is limited by TIME (lack of time, lack of time). Everyone gets the same 24 hours but not everyone has so many people pulling to have some of that time. And my love language is quality time so I give my time to what and who I love–I’m not going to go to something I don’t care about or spend time with you if you mean nothing to me. I realized recently at a church ladies women’s retreat that Quality Time being my love language trickles down into a lot of decisions I make–my biggest fear in parenting? that my children won’t get enough time with me (and won’t feel loved–but that is how I feel loved, not necessarily how they feel loved!). one of my main reasons for homeschooling? so we can spend our time on what we love to learn about (not what the government bids us learn about). my favorite ritual of the day? coffee + chat time with my husband in the mornings. Time weighs heavy on me. As it should–it’s fleeting (favorite book of the bible: Ecclesiastes. A time for, a time for, a time for….). and also this: Teach us to number our days, that we may gain a heart of wisdom (Ps. 90:12). Like any quality a person has, my appreciation/ apprehension of time can be a strength (wisdom) but it can also be a weakness (fear). I pray that God mold me to turn this to wisdom and set my eyes on things above rather than cling to my minutes and hours with a cold-hearted fear.
Renee Emerson, ambitions, love languages, and the fleeting quality of time

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We do not tread nimbly upon the back of time,
we trample its soft belly.
Risa Denenberg, Forebear

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Q~What would you like to share about the backstory to this poem?

A~This poem came from seeing Twitter’s collective reaction to Roy Moore’s defeat and the fact that black women showed up against him the most. We stay doing that. We stay showing up when it’s time to protect the best interests of others. No one does that for us, and I’m fuckin tired. This poem is about the black woman’s mammification and black fatigue and a little bit about politics and a little bit about Emmett Till; how no one but his mama showed up for him. Black bodies are expendable until they’re useful, and, again, I’m tired.

Q~What do you hope to accomplish with this piece?

A~I want to make people who subscribe to mammification and respectability politics feel really bad about it. I also want them to know they can fuck all the way off.

Q~Did the poem come easily to you or was it hard to write?

A~Emotionally, it was very hard to write. But, it came easy. I was, I AM, so angry.

Q~What’s your writing process usually like?

A~I smoke weed and then write whatever comes to mind. Obviously, I don’t only write when I’m high, but lately I’ve been doing that to see what I produce. I’m generally delighted with the results.
Bekah Steimel, Every Election Cycle, The Wind From Birmingham To Chicago Smells Like Ashes / and interview with Khalypso The Poet

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Strange to feel inferior, but that
was the job of live-in European servants:
to confer shine for a pittance. English nurses,
Scottish maids, Estonian women doing laundry,
German POWs pruning roses.

Out through glitter, back to the dock.

Mrs. Anthony motored around town
in a humble Ford wagon, but in her garage,
a Daimler banked its gleam. I had to study
eight degrees of grandeur for the table,
a bewilderment of china. Her daughter
Kitty curtsied to me once, a faux-pas.
Those manners were too silver for the help.
Lesley Wheeler, My mother as live-in nurse, 1962

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There’s a subtle hierarchy being reinforced here. [Etty] Hillesum’s talent is positioned as naive witness, “conscientious” in her craft (a backhanded compliment if there ever was one). She is a vessel. Homer, Merrill–they are agents. The irony is that this essay earnestly and sincerely wishes to wrangle with the issue of who is ignored, and why, and the legacy of poets as “legislators” of our collective spirit. The author wants to interrogate our impulses toward memory and history-making. He should begin with questioning why this essay cites who it does, and in what proportion.

My point is not to drag any one author, especially a poet whose work I admire, and one who is making time for the under-compensated track of literary scholarship. My point is that these approaches to writing about craft are endemic and entrenched. This is not a matter of the teachers who are “woke” or not “woke.” This is a process of not only wakening, but questioning the conditions of your previous slumber. That’s why I’m wary of anyone determined to enshrine a syllabus that features a particular contemporary author (“a genius!”); you’re telling me, on some level, that your mind is already made up on who the next generation of the canon should feature. That’s still changing. That’s in our hands.
Sandra Beasley, On Craft & Canon

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Now that Napowrimo is over, I’m settling back into my routine of morning online reading. This is my time to look for wonder-full flash and poetry and get lost in other places and other lives.
Charlotte Hamrick, Women of Flash


I’m in the UK for the summer, so these digests will be going out about five hours earlier than before. But don’t worry, if you’re in my feed reader, I’ll still be considering later Sunday posts for the following week’s edition.

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 18

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you missed last week’s digest, here’s the archive.

This week, I found a lot of Poetry Month post mortems, as you might expect. But several other themes emerged, as well, with posts on interdisciplinary influences and collaboration, translation and “envoicing”, spirituality and religion, and the importance of active engagement in the public sphere.

April’s gone, and the rigour of National/Global Poetry Writing Month is over for another year. So how did it benefit me as a writer?

  • The discipline of producing new writing, daily.
  • Motivation to get started and keep going, from a writing community.
  • No shortage of writing prompts to overcome self-imposed barriers/blocks to writing.
  • New and unexpected learning/discoveries from prompt-related web links.
  • Exploring form.
  • Approaching old poem drafts from new perspectives; fresh starts.
  • Unexpected/surprising outcomes.
  • An abundance of material to work on or cherry-pick from.

Jayne Stanton, After NaPoWriMo

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April wasn’t a different month for me in terms of poetry than any other month. I wrote a few poems and sent a few packets out. I got some new ideas for poems, which always makes me happy. I took a purple legal pad to school–right about the time that my administrator schedule heated up, and I didn’t have pockets of time during my work day to write. But I’ve set a foundation for later.

While getting a Fitbit may not be one of the goals we see in anyone’s writing goals, I do think it’s important to remember that our ability to create poems may rely on keeping healthy as best we can. I’ve spent the last year gaining 15 pounds, and I’m happy to be taking steps to reverse that. More important, I’m glad to have a gadget that will remind me to move away from the desk periodically.

What I’d like to carry with me: I’d like to write poems more regularly. I do admire the poets like Luisa Igloria who write a poem a day, year in, year out. I’d be happy if I wrote poetry 3 days a week. I know there are trackers for that–you don’t wear them on your wrist, but a tracker is available. Maybe I should try that . . .
Kristin Berkey-Abbott, Last Day of National Poetry Month

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So, for the last year, I have been writing. When I have the time. Whenever I have the inclination. When there’s something that is nagging at the back of my mind. I stopped submitting poems altogether for about six months. I concentrated on creating work. And guess what? It’s almost summer. And once again, I really do think I may have a third manuscript now. If not, I have a whole lotta poems. And that’s a start.
Donna Vorreyer, Whole Lotta Poems

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My best writing has been done when I wake up with a clear mind and maybe 40 minutes just to dream on paper.

My best writing rarely happens when I am saying to myself, “Okay, you need to make this one excellent, you need to write your best poem ever.”

I have a friend I write with back and forth and on May 1st he sent me an email saying, “I haven’t lost the energy, I want to keep writing a poem-a-day…” And I agree.

So I will continue on trying to write a poem a day, but being happy if I get a poem a week or a poem every-other-day.

Because I love the journey and while I love a draft that leads to a completed work, I appreciate the poems that don’t. They are like sketches in an artist’s journal, practice swings on a baseball field knowing one day, we’ll hit it out of the park.
Kelli Russell Agodon, While I Was a Terrible Blogger During #NaPoWriMo, I Earned My Poem-A-Day Merit Badge… (Plus: Why Quantity Wins Over Quality in First Drafts…)

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In addition to having a goal of writing a poem each day, I also set a goal of reading fifteen books of poetry this month. I came close, reading thirteen books of poetry. A little short of my goal but considering some people don’t even read thirteen books in the entire year I think I did okay. And I read some damn good poetry this month.

But just because the month is over doesn’t mean I’m going to be any less focused on my writing. I’ll use the momentum to keep writing and keep putting words down on paper.
Courtney LeBlanc, 30/30

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The landscape’s brought colors and pollinators and all the juiciness of reproduction cycles into the season’s height. Time to take walks and breathe.

And say nothing.

And let the words subside for awhile, and percolate the way the rains percolate through the wet, warm soil and into the waiting earth.
Ann E. Michael, Wordless

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I love going to poetry readings when it’s clear the poet has studied acting, is a good actor. I’m thinking of Lola Haskins, who reads with her full body, who takes such time and care with her delivery. You see her wanting to do something with her audience with her performance. Beth Ann Fennelly is another poet whose recitations (though she usually holds her book, just to have it in case) are occasions where her poetry becomes something physical through her performance. Saul Williams, of course. Or think of singer-poets, Patti Smith. Or John Giorno. Or Marie-Elizabeth Mali.

Obviously, the whole spoken word movement celebrates performance and recitation, going back to Marc Smith, with roots in the Black Arts Movement, the Beat Writers, going back to Dylan Thomas and Edna St. Vincent Millay’s radio broadcasts, back to workers’ chants and back to call and response, back to Father Walt, oh hell, back to ancient Greek poetry. The beginnings of drama and poetry and ritual, all of this is old, old stuff. It’s because poetry, those words, don’t reside in the brain–to be accessed mechanically–but are in the breath and heart beat, in the body. Performing a poem, then, requires that bodily engagement.
Jim Brock, Recitation

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These are exciting times for the arts: eyes and ears are open wide and there are few if any barriers standing in the way of experimentation. So within these exciting times of relative freedom from the constraints of rigid tradition and strict orthodoxy in style and form, it’s a truism to say that art thrives on synthesis. In all regions of the wide cultural territory that lie before us in the early 21st century, there is abundant cross-fertilisation, the elements of which are drawn from the most disparate of sources and made subject to the broadest of influences. For painting, for music, for dance, for theatre, for poetry, these are, in many ways, the best of days. […]

Whilst driving through country lanes listening to Steeleye Span singing The Dark-Eyed Sailor, I began to ponder this demarcation between the immediate subjectivity of the ‘dramatic’ and the relative objectivity of the ‘narrative’. Suddenly it occurred to me that it might be interesting to tamper with the equation as interpreted by Brecht in his re-articulation of the Goethe/Schiller proposition and extract a poem from that traditional English ballad that moved back through the formalised structures of the rhyming ballad towards the immediacy of the events that inspired the song in the first place. The unifying themes, the sequencing of events and the ‘rhapsodic’ narration would remain the same, but there would be applied to the storyline an element at least of the emotional interactions between the human protagonists themselves and their experiences within the wider context, this forming a kind of ostensible mésalliance between the two oppositional modes that might, in fact, actually work.
Dick Jones, The Famous Flower

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This track has had a special place in my heart over these years and, revisiting it recently, I found myself beginning to make this video with it. In its final form, the piece is a hybrid of music video and poetry film. The images are from Unsplash, a website for highly creative photography from around the world, all made available for re-use on public domain licence. I selected and juxtaposed the images for their associative resonances with the words, and arranged them in an order to tell a kind of abstract, gestural narrative. I built up a visual motif in this video around the colour red, relating to the rubies of the title. In editing I added movement to the stills through zooms, reversal of framing, and jump cuts on the beats, like heart beats with the music.
Marie Craven, Videos: 1000 Rubies, Human Resources, St. Umbilicus

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Last Saturday I was honored to read my poem “Blessing” at Ars Poetica – Where Poetry Meets Art at the Front Street Gallery in Poulsbo, Washington. I had the pleasure to meet Artist Sylvia Carlton, who shared with the audience why my poem resonated with her and why she chose it. I was so moved that it touched her in such a personal manner. Sylvia shared how as a mother the poem put into words so much of what she also felt about that difficult time when we let go of our children and send them into the world. Sylvia captured beautifully the contrast between the tight formality at the beginning of the poem with a dark weaving of limbs and the openness at the end of the poem where the white space and lack of formal punctuation allows the light to come in—light that beautifully emerges from behind the trees.
Carey Taylor, Ars Poetica-2018

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Tomorrow (Monday 7 May 2018) I will be starting a poetry course with the Poetry School. Titled Transreading the Baltics, led by Elzbieta Wójcik-Leese, it will look at and respond to poetry in translation from Lithuania, Latvia and Estonia. I don’t speak a single word of any of those languages but the thought of getting to know the poetry thrills me the way a TV travel show can whet your appetite for visiting a country. […]

As a blind person I frequently need to translate English into English. I personally do not understand the reason why some poets post their work as images rather than ordinary text. A picture of text is not the same as text that can be copied and pasted into an email, for example. Maybe that is the reason for doing it but, as Google Books proves, scanned copies of whole books can still be shared.
Giles L. Turnbull, Lost in Poetry

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Poet Pam Thompson wrote a really interesting comment on the last post, describing what I was doing with some of the poems was “envoicing”. I was much taken by the idea, conflating it, I suppose, with Robert MacFarlane’s idea of “en-chantment”….that is to bring into being, or to call up, by language. I’d always thought of the business of dramatic monologues as ‘ventriloquism’, but envoicing seems much more an act of imaginative invention. I’ve written before about what brought me into it. Basically, I was looking to break out of my own ‘voice’ and its way of seeing, and what unlocked the door was Carol Ann Duffy’s The world’s wife. An absolute revolution at the time, to me, ‘envoicing’ all those female voices in a series of revisionist versions of myth and legend. Eventually it lead me to finding voices for a whole range of sculpted figures…the angel of the North, Epstein’s St. Michael, Rodin’s kissing lovers, one of Anthony Gormley’s figures on Crosby Sands, and so on. But the first project, which produced a lot less than I thought it might, was to explore the relationship between the late Victorian painter, John Waterhouse, and his (supposed) favourite model.
John Foggin, The male gaze (4) “Envoicing”

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Your most recent collection of poetry is Sexting Ghosts. Can you tell us about the project and how it came into being?

The project is an interesting mashup of different things I started writing immediately after finishing my MFA in writing. I was, and am, so obsessed with spirituality, the universe, and where we sort of fit in. I was raised in a religious household and while I largely rejected a lot of the sort of “status quo” ideas of Eastern Orthodoxy (what I was raised in), I do believe in God/the universe, and it is important to me to explore this. I think, for awhile, I felt like I had to reject religion or spirituality, because it alienated me as a queer person — and because of the rigidity of it.

But now I’m comfortable with it, and a fluidity of traditions and approaches — I largely consider myself a witch with a mashup of Eastern Orthodox/Jewish beliefs, which is because of my relationships and upbringing and interest in largely just being authentic and true to myself. So this book is largely an exploration of that as a queer person, using the first part to explore gender and sexuality and dysfunction in the tradition family setting, while the other parts explore this within the technological realm. What does spirituality look like with texting, what does it look like when we look at the universe as a living thing separate from humanity?
Andrea Blythe, Poet Spotlight: Joanna C. Valente on spirituality and the drive to communicate

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Making Manifest [by Dave Harrity] is a creative writing workbook. you are to read a different reflection each day and complete the writing exercise that goes along with it. the thought behind it is that writing can be a spiritual discipline–and, where i have found the book unique, it blends spiritual exercise with writing.

the exercises are appropriate for beginners and not-so-beginners, and did help me to become more focused on writing as a spiritual activity. i have been slow working through this book–it has taken me about two months to complete–but i have truly enjoyed coming to it each evening, sitting down in an attitude of worship in my writing.
Renee Emerson, making manifest: a review

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Q~How is the poem representative of your new collection?

A~slight faith is a collection of poems that consider ways of creating and finding meaning, ways of seeing the world in all its horror and still wanting to live. The story that my poem, “Bimbo: a Deer Story,” is based on looks to the natural world (a dead doe, the fawn helpless at her corpse) and positions the fawn in an unnatural environment (a woman’s home). The story is simultaneously heartwarming and anomalous. In the poem, the narrator tries to understand who she is under the circumstances she has been dealt. She looks for meaning, which I believe has its core in faith. Many of us who are not drenched in religious life have difficulty talking about concepts like faith, and yet these tropes are found everywhere in art. I’ve learned “god language” through my work in end-of-life care, as a way of connecting with people who speak it. My own experience of faith vacillates between feeling authentic (faithful) and feeling hopeless (faithless). At core, faith says there is meaning. I lose and recover meaning all the time. slight faith is a way of finding peace in that dilemma.

Q~You mentioned your work in end-of-life care, how much does your “day job” influence your writing?

A~There is no doubt that my years as a nurse, witnessing illness, suffering and death, has been a bedrock of my need to write. It has also given me experiences to write about, as I have done in my chapbooks What We Owe Each Other and In My Exam Room (both published by The Lives You Touch Publications). When life seems suffused with sadness, despair and even alienation, poetry carves out a place for these difficult emotions in the world.
Bekah Steimel, Bimbo, a Deer Story / an interview with poet Risa Denenberg

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As with several other poets this month, I had to — I wanted to — read Brock-Broido’s poems over and over. She values image and sound, and she choreographs her poems across the pages. I won’t say they are puzzles, but they are gems, they’re like Matroushka dolls with meanings tucked within meanings. “I am of a fine mind to worship the visible world, the woo and pitch and sign of it,” she writes in “Dear Shadows,” but I had a very clear sense that it was not the visible world that concerned her. “I ache for him, his boredom and his solitude. // On suffering and animals, inarguably, they do. // I miss your heart, my heart” (“Dove, Interrupted”).

I’m reminded of one of my university professors, who once told us, in seeming exasperation, “Stop writing about hearts and moons, it’s been done.” And then to spend day with these poems (and read Brock-Broido’s students’ testimonials upon her death) — it’s fortifying to see how much the heart is still written of, and cared for. It makes my heart glad.
Bethany Reid, Lucie Brock-Broido’s Stay, Illusion

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Keeping quiet such a long time, dry-eyed
and wet-boned, gone all limp and loose and lost.
There’s the little cave they keep you in, tied
to bricks so you won’t float away, arms crossed
over your chest. Is that to hold your heart
in your body? Does it really matter?
Some day, you’ll get out — a black arts jump start
for all the bits and pieces in tatters…
PF Anderson, Zombie Sonnet

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Yesterday, I went over to a friend’s house. I arrived at 4 PM; I left six hours later. In between we drank wine, cooked four pounds of mussels, grilled vegetables, and traded poems. I was grateful for the sunshine, the gorgeous cherry tree flowering in her backyard, and her overly enthusiastic (and freshly washed) pup clambering for pets.

Most of all, I was grateful for the balance of the exchange: two poets who have been following each others’ work for years, with a baseline of respect and appreciation, talking freely about drafts in progress. We don’t have particularly similar styles, especially in our projects of the moment. But we’re able to be frank about what’s working and what’s not on the page, and that’s worth its weight in gold. Everyone needs trusted readers.
Sandra Beasley, Golden Rule

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What’s really sad is that there is not a single bookstore in Tillamook.

Not even a used bookstore.

Though we do have a wonderful library.

But when I asked the library if I could arrange poetry readings there, they said no.

So guess what I went and did?

I asked if anyone in my community would want to join me in a poetry book club.

And 9 people said yes!

We had our first meeting and it was wonderful!!! People had such interesting and insightful comments about the poems we discussed from Lois Parker Edstrom’s Night Beyond Black.

It was so much fun, people want to do it again–the last Wednesday of every month!

I feel so lucky there are so many local folks open to discovering poetry along with me.

I’m not alone with poetry any longer.
Lana Ayers, Sometimes beauty alone is not enough…

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We’re also reading Kevin Young’s amazing long poem Ardency: A Chronicle of the Amistad Rebels, from 2011. I think my students are struggling with it, much more so than with the shorter poems we’ve read, and I understand why–Ardency is not only long (250 pages), but Young steadfastly refuses to simplify this vast, complicated, powerful story. Instead, the book riffs on the languages and structures of religion, education, and music, with a section each focused on Covey, the free Mendi translator; Cinque, a captive who came to lead the rebellion; and a chorus of survivors on trial, often represented through letters. […]

Can a poem be a monument? I think so. A book doesn’t have the simplicity of a pillar or the accessibility of a garden, but there’s a public role, too, for the productive difficulties of intensely patterned language. We need to read poetry, alone and together, because it helps us remember (and imagine) what’s lost and imagine (and remember) a way forward.
Lesley Wheeler, May the river/ remember you

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If women writers were given as many chances, as many extra passes, as male writers, I think you would see a lot less sexism and abuse in the system. I see women writers being shoved out of the way, talked over, published less, paid less, treated as less important, and I think: Why do people think this is okay, and why does it keep happening? Of course the literary world is not protected from these incidents – in fact, in my experience, it’s worse than, say, the tech world I used to operate in (I had very supportive male bosses who promoted me at AT&T and Microsoft, in particular.) So if you have power and influence, try using it to help women succeed. I bet it would prevent so many abuses. It occurred to me one of the reasons I wrote PR for Poets is I felt women writers, weren’t reaching their audiences because they weren’t being promoted, reviewed, invited to speak, like male writers. I’ve seen very shy, unself-promoting male writers lifted up by their male colleagues, taken out for a beer and given tips and even having their books suggested to certain high-end publishers, but I haven’t really seen the same thing for shy, unself-promoting women. I wanted all poets to have the tools to help get the word out about their books, but I didn’t realize this was actually a subversive act. It’s subversive to help poets learn how to promote themselves because the literary world wants you to believe that it is a meritocracy, when it really isn’t, it’s a place where privilege and place and class and gender all reflect social norms, which means the disabled, the poor, people of color, and women are going to have less of a chance to really make it. When AWP ignores the needs of disabled folks, that means less chance for us to interact with others. When publishers skew their books to a male audience because male writers “are more universal,” well, no they’re not, unless you make that the case. Readers of books actually skew strongly female, so shouldn’t the authors of books also skew female?

I’m sorry if this tone disturbs you. I like to uplift people. I like to be inspiring. But lately, with the political tone of the country, the repeated shock at many men in power abusing that power, I have started to say: enough of the shock. Let’s do something to make it better. I may not live to see a woman president of America, but I want to make some noise for equality in the poetry world, at least. If I can support other women writers by bringing attention to their work (which is why I do book reviews even though they are time consuming and mostly do not pay,) I want to do what I can to make the literary world a better place. I want to encourage you to take action too.
Jeannine Hall Gailey, My Rumpus Review of Barbie Chang, Guest Post on PR for Poets with a Disability or Chronic Illness, More Cancer Tests, Faerie Magazine Poems, and How the Lit World Can Avoid More #MeToo Moments

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Night pavement, silver-slick with moon.

 

Owl. Mid-road. Blocking the way. Meeting my eyes. Slow, slower: it does not move. Mouse between its talons. Guardian of the veil between the land of the living and the land of the dead.

I drive around it, trembling.

Last time I met you, you were kicking me out: I have the scars to prove it. Head wounds bleed like bastard. Talon strike perforations. I don’t want to go back.

You say: do not pass.

I pass, trembling. Into steeper dark.
JJS, May 3, 2018: what the forest said

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).

Poet Bloggers Revival Digest: Week 16

poet bloggers revival tour 2018

poet bloggers revival tour 2018 A few quotes + links (please click through!) from the Poet Bloggers Revival Tour, plus occasional other poetry bloggers in my feed reader. If you missed last week’s digest, here’s the archive.

This week, poets were pondering time and memory (well, OK, poets are pretty much always pondering time and memory) in between trading tips on how to start a poem, how to know when it’s finished, how to promote a book, and — most of all — what to read.

Unable to sleep, I sit before
the heartless brilliance of the screen
with the real-world darkness

hovering, fearful but persistent,
at my back. It seems as if time
has packed her bags and left

for the coast and then beyond.
I take off my glasses, knuckle away
the mess of my tears. And then,

like importunate drunks through
a suddenly opened door, the geese
are overhead.
Dick Jones, Their Voices in the Night

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Spring’s been happening in fits and starts–blossoms one minute, wind-strewn petals the next. I walk a nearby trail most mornings, and on Tuesday, Woods Creek churned and roared from heavy rains; parts of the path were massive puddles, and the lowest bridge was half-underwater. The next day was frigid; others have balmy and still. National Poetry Month basically occurs during the year’s moody adolescence.
Lesley Wheeler, News flash: in April, poet feels moody

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Q~What’s one piece of advice you want to share on writing?

A~Writing is a solitary act, but it’s equally important to actively seek, and maintain, an outward focus in order to inspire and inform one’s writing. Connect with other writers, both face-to-face and online (it’s never been easier); be an active participant in your local writing scene; attend writing workshops, poetry readings, literary events, festivals; support the work of others (it’s not a one-way street); live life (it’s the richest writing material I know). And, read far more poetry than you can ever write.
Jayne Stanton, interviewed in Bekah Steimel’s blog

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One of the writing strategies I like to use almost every time I begin a draft is to generate a list of words from another source, from a book of poetry or fiction or from almost anything written that’s lying about. Sometimes there’s some intentionality and sometimes not. I look for words that aren’t in my personal lexicon–not that I don’t know them, but I may not think to use them. Then I prop up that list of words in front of me at the computer or on my lap. SOMETIMES a word on that list will generate an entire poem.

I’m always looking for a way in–and about 80% of the time I’d say, my poems spring from a list. There’s nothing proprietary about a list of words from another source, but I love how the list pushes me in a new direction or actually becomes the prompt or allows me to use much fresher language than I might otherwise. It eliminates hum-drum, I hope.

I’ve divined words from poetry books like Break the Habit by Tara Betts and Maggie Smith’s Good Bones, and Pattiann Rogers’ book, Holy Heathen Rhapsody, and even a fiction book, Bradbury’s Fahrenheit 451. I still marvel at what gets spit out on the page. I’ve read through entire books circling words as I read or just found and used a single longer poem. Rarely am I looking for a specific type of word for a specific subject. Rather, the goal is to gather words that do not seem to fit together or the subject, if there is one. The list IS my entry to the draft whether I’m writing about Frida Kahlo, the hospice caregiver bathing my mother, or my brother’s childhood clubhouse.
Gail Goepfert, Behind the Purple Door–One Way In

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Of course, invariably, each retyping meant a new re-entry, a complete opportunity to alter, change, fudge, reconsider, letter by letter, the whole poem and its possibilities. Even if you didn’t change a thing, it was a true revision opportunity for the poem. I also enjoyed how it was to re-enter those poems that way, too. Maybe it was the punctuation of the line with the return of the carriage, the clacking of each letter, the meticulous folding the manuscript into thirds to fit into the envelope. That slowness, that luxury, that inefficiency seems so distant now.
Jim Brock, Old Inefficiencies, Old Joys

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A month or so later the audiobook was finished. The recording was done by Lily Ricciardi, one of eBookit’s professional readers. She has a beautiful voice and did a great job. The book is reproduced in its entirety except, of course, for the Table of Contents, the bio notes, and the Index.

I wondered initially how someone might use an audiobook of this sort, as opposed to, say, a novel. But it seems that people are enjoying it as they go walking and as they pound away on the treadmill. Some listen and learn in bed. Someone told me she begins her morning writing session by listening for 10 minutes; what she hears then inspires her writing that day. Excellent! Others listen while traveling in the car or plane. Obviously, I had a lot to learn about audiobooks.
Diane Lockward, The Crafty Poet Goes Audible

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People sometimes ask me how they might know when a poem is “Done.” I resist that term, actually; I think of poems as ideas gathered to the consciousness of the poet. The text on the page (or as delivered live, in readings) is always just the best possible approximation the ‘poem’ available to that poet at the given moment. There’s no one definitive version of a poem.

The practical advantage of that attitude is that I’m pretty easygoing about accepting other people’s edits or even typos in reproduction. Poems aren’t like cars; you can’t ding their bodywork or crack their glass. Poems are clouds you get to ride, if you’re lucky.
Sandra Beasley, Heirloom (Old Poem / New Poem)

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It’s been a while since I read her work, and though I often think of Ruth Stone (1915-2011) along the lines of girls in dresses of Alice blue, and mares beneath the apple trees, I was pleasingly surprised at how bawdy Stone’s poetry is. Men line up like silverback gorillas at the counter of the donut shop. At the bus station, “two couples are not just kissing / they are dry fucking.” In these poems we are not allowed to forget that we have bodies. A younger sister lies in the grave, her breasts, “wizened flaps.” A husband dead of suicide haunts the poems (an insistent “you”). Time doesn’t merely pass, but runs through our fingers as we clutch at what cannot be held onto. The title of the book, Ordinary Words, seems to insist on the humble subjects and (sometimes) plain speech of the poems. But I tiptoe through these poems, never sure where a trap will spring open.
Bethany Reid, Ruth Stone’s Ordinary Words

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I learned to vanish, was saved by my knack
for flying away with fluttering sleeves
and hair through wet grass and over trestles,
falling, and hiding again. A vessel
is coming, I will leave. My mother grieves.
Light and shadows fold themselves around me;
feathers brush my face, erase memory.
PF Anderson, Kaguyahime Sonnet

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Why do some things hold in our memories when others go? Was it less painful for my mother to think of me as the young girl she could dress in nice clothes and whose hair was consistently combed? Was her memory loss entirely organic or was there something else involved? And why, oh why, can I remember so little from certain periods of my life? What have I put into storage and then thrown away the key?

The first poem of Every Atom includes the lines: “The world we are born into / is not the one that clings to us as we leave.” We change the world by moving through it, by the stories we choose to tell, by the ever-widening ripples of our actions. Sometimes, I go back through old notebooks to remind myself of what my world contained during different times. Sometimes, I go back through old notebooks to remind myself who I was in those worlds.

Sometimes I don’t recognize any of it. But there it is, in my own handwriting, like a river ebbing and pulsing, continual and irreversible.
Erin Coughlin Hollowell, The River of Memory

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An amalgam of ground pecans, chopped apples,
red wine, and nutmeg
primes us to recall the taste of mortar—

the timeworn saga of servitude and how despots’
sovereignties always hinge on slavery.
But instead, it is sweet as honey

and reminds me that all history
is gloss, and how recollection, like nostalgia,
adds false notes of harmony to bitter herbs.
Risa Denenberg, Charoset and Bitter Herbs

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The poet community is one less. I confess I did not personally know Sam Hamil, but I knew of him. I knew some of his rugged past that probably had a lot to do with the person he was. I became acquainted with him during the Poets Against the War lead up to U.S. Bombing Iraq. When I think of Copper Canyon Press I think of Sam. When I think of Sam, I think of Copper Canyon Press. It’s that simple. Sam was all about peace. There was a quiet spirit that resided in Sam, but Sam also had the ability to unleash tremendous indignation where appropriate. One thing I don’t think I ever saw in Sam was much optimism. His worldview of governments including and perhaps especially our own was highly pessimistic. War, hate, violence, greed, corruption. These were things that kept his vision from seeing a reason for optimism. But Sam gave us poetry. His gift to us all, are words that will continue to speak to us if only we will listen.
Michael Allyn Wells, Confession Tuesday – Schizophrenia is in Full Bloom this Spring

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Q~What are your poetry likes/dislikes?

A~I like the poetry itself. The writing, the revising, the reading, the submitting, the independent non-corporate publishing, the sharing, the interpretation, the connecting to others through the poetry. Poetry as expression, poetry as art, poetry as emotion, poetry as questioning, poetry as exploring.

I dislike aspects of the poetry scene that feel too close for comfort to some sort of popularity contest involving group attacks or judgment calls. Poetry can be political in many different, powerful ways, but I don’t like the forming of groups outside of the poetry that take a side and lump other sides together and judge them and try to send other poets to jail.

I’m a small scale individual poet, not a large scale judge.
Juliet Cook, interviewed in Bekah Steimel’s blog

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The conversation in this lovely book between text and image is direct and intense, without seeming constricted or constrained. Although its visual and verbal components are fully capable of standing alone, together they make magic. Seasoned and grave, yet crackling with irony and pleasure, these poems are also erudite, salted with references to Duchamp (a “nude descending an escalator”); Orpheus (a narrator who “turned back to see you disappear”); and Turner (“the red buoy bobbing on the waves.”) Their engagement with the paintings yields a tapestry of responsive, but imaginative, tropes, such as the structure of matter, fragmentation, the entangled relationship between creation and destruction – and, of course, static. This book handily refutes the counsel (mentioned in “where was it I”) of those “frozen in place” to “stay inside the lines.”
This! On “breath to oblivion no ladder no chaser” by Charles Borkhuis–guest blog post by Susan Lewis at TrishHopkinson.com

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Think about Browning’s My last duchess. There’s a poem about the predatory male gaze if ever there was one. But whose gaze is turned on the Duke, and whose on the woman whose portrait the Duke is showing off? What is the poet assuming about the duchess? Or think about Philip Larkin’s The less deceived and how he imagines (gazes on) the little street girl abducted and taken into fulfilment’s desolate attic. At every turn I feel the ground slipping away from under my feet.

At this point, I’m going to go back to an earlier post, (December 2014) in which I was equally uncertain of what I was arguing about or why. I started with a quotation from George Eliot…who had to assume a male persona to get published.

“If we had a keen vision and feeling of all ordinary life it would be like hearing the grass grow and the squirrel’s heart beat and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well-wadded with stupidity.”

I went on to write about my response to work by Pascale Petit, Kim Moore, Fiona Benson and Wendy Pratt, and to wonder whether I could access their experience of the world via their poems. I wrote:

“I read these poems, and then I read what I’ve written in the last two years and I see what isn’t there, and I wonder if I have access to what’s missing. Just to explain why I chose that opening quotation from George Eliot; for the last 18 months or so I have grown gradually more deaf. It’s something that can be dealt with, and will be, but at the moment I hear the world through a soft sieve. I miss the point of conversations and questions if I’m not attending. It’s like listening to French. I recognise songs on the radio by the bass lines and drum patterns but I can’t hear the whole tune. And now these poets. It’s as though they’ve shown me emotional registers and harmonies that I can’t hear or feel for myself, as though, in George Eliot’s word I’m ‘well-wadded’. I’m writing rhetoric and well-observed landscapes, and anecdotes, but I’m not accessing the whole picture.”
John Foggin, Here’s looking at you: the male gaze

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The cacophony of voices – high & shrill, low & gruff –
pressed in on her as the knobs of her spine pressed
into the wall, mouths opening and closing
like hungry baby birds, insatiable and demanding.
Beneath the din she heard the whisper of leaves

rubbing in the breeze a promise of disappearance,
of peace caressing her ramrod body. Her eyes
found the door as the sea of prattle parted.
She gathered her resolve and lifted one foot.
Charlotte Hamrick, Not a Party Girl

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Q: Readings make me anxious – how many do I have to do?
A: I say in the book PR for Poets that many poets sell most of their books through readings, and though that’s true, there are plenty of other options that I outline in the book for you to sell books, including sending out an e-mail newsletter, book postcards, or talking to professors about teaching your book. Every book is unique, and every poet is unique. Some people are extroverted and confident public speakers – those people should do lots of readings as long as it makes them happy. But if they’re torture for you, do one or two readings in places you know you have lots of support and see how it goes from there.
Jeannine Hall Gailey, Q&A for PR for Poets

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I think that poetry offers what Plato calls psychagogia— “an enlargement of the soul” in C.S. Lewis’ definition, or see John Joseph Jasso’s dissertation chronicling it as “the idea that rhetoric can lead souls to their own betterment; that is, guide them in an ascent along a metaphysical hierarchy through beauty, goodness, and truth to a fuller participation in being.” Poetry provides such enlargement by permitting the reader to imaginatively undergo transformation via images and places the poem offers, to experience the turn in the poem’s rhetoric, to feel ‘along with’ the poem’s nature. The poem is a threshold at which the reader stands and makes the choice of whether or not to enter.
Ann E. Michael, Imaginative, not imaginary

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This is all to say that sometimes dramatic lit does exactly what it’s supposed to do: remove us from our own lives, provide catharsis, and then place us back into our lives with a better sense of perspective, a little more wisdom, and a little more clarity — or even more with more confusion, but a confusion that lets you know a veil has been lifted, and that somehow you’re un-seeing something that was distorted (for you) previously.

And it’s nothing short of amazing these days when something works the way it’s supposed to work. And that’s not pure cynicism — it’s more celebration than anything else. I really love other people’s writing.
Sarah Kain Gutowski, When You Come, Then You’ll See: Real Drama! (i.e. Not My Own)

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And all the cycles in between- the river running dry
for fifteen years, the earth knotted in stubbornness

loops of suffering, the cycle of mourning, the womb
stretched and inelastic filled with the husk of grief.
Uma Gowrishankar, The Cycles

Dave Bonta (bio) crowd-sources his problems by following his gut, which he shares with 100 trillion of his closest microbial friends — a close-knit, symbiotic community comprising several thousand species of bacteria, fungi, and protozoa. In a similarly collaborative fashion, all of Dave’s writing is available for reuse and creative remix under a Creative Commons Attribution-ShareAlike 3.0 United States License. For attribution in printed material, his name (Dave Bonta) will suffice, but for web use, please link back to the original. Contact him for permission to waive the “share alike” provision (e.g. for use in a conventionally copyrighted work).