Poetry Blog Digest 2019: Week 4

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. And if you’re a blogger who regularly shares poems or writes about poetry, please consider joining the network.

This week saw poetry bloggers continuing to write about Mary Oliver, as well as reacting to current and celestial events. There were posts about creativity and overcoming writer’s block, reviews, philosophical reflections… the whole mix. I should mention that I am slowly becoming more selective as I continue to add more blogs to my feed. It’s a good thing most people don’t post every day, as Luisa and I do here at Via Negativa! That would be nuts. Anyway, Enjoy.


Those of us who are still here: we are still, always arriving.  We’re not in the Promised Land, that’s for sure.  All we can really do, is to be in the becoming.  Still, always arriving.  We’ve been still, always arriving since we left the ennui of Paradise. We throw questions, try to dominate, cure. We try to stare down the enemy though, as if in a mirror, we’ll see our own face in its acts of aggression.  Learning to love the questions themselves, rather than the answers relaxes the drive to conquer. As King said, mental freedom, illumination can move things. 

Today also on the Jewish calendar: Tu B’Shevat, festival of the trees. Today trees are sheathed in ice in New England. The sap is there, held in tension, in suspense, waiting, always arriving.

Jill Pearlman, MLK, Always Arriving

I don’t know about you, but I process confusion by getting my ass into a chair and my pencil onto a page. So when the video of the young man staring down the Native elder surfaced, I watched it and paid close attention to the emotions that rose to the surface in my body. I didn’t respond on social media. In fact, it didn’t take too long for me to stop looking at social media altogether on the issue. I wrote about it in my notebook. […]

When I taught high school, I spent a lot of time choosing novels that I hoped would expand my students’ empathy, help them walk in another’s life for awhile, break down some of the barriers. That’s what literature and poetry does best, it shows us how it is to be another person. I remember how hard it was for my students in a small town in Alaska to really put themselves into the place of Ishmeal Beah in A Long Way Gone or Amir in The Kite Runner. But when they succeeded, the transformation was permanent. They could not go back to their own small lives without carrying some of the lives of other people who were different than them…. and the same as them.

When I write, I try to offer my reader that same chance to step into the poem. “Did you lose someone to Alzheimer’s? Was it like this?” I offered in Every Atom. “Are you lost and looking for the way some god might be all around you? Does it feel this way?” I wondered in Boundaries.

Recently, I look at my new poems and think I am asking, “Do you love the world? Are you open to the way the crow flies across the cold sand? Are you willing to listen for the soft compression of wings on air?”

“Are you ready to have faith that what you call other is only you on a different day?”

Erin Coughlin Hollowell, On a different day

So I am up and out the door. But the blood moon has rolled over and pulled the thin blanket of clouds with it. The sky reflects a sickly orange spill from the green houses in Bore.

I feel that I’ve written that sentence before. I’ve written about how we impose on the world.

But still, this morning was once in a lifetime.

Sporadic hail through the tree branches.
The dog tugging the lead,
still unlearning to hunt. 

Ren Powell, January 21st, 2019

In the end, all that mattered was blood
relations, forgiveness, love. In hospice, I left him alone
the night before he died. Still thought he’d walk

out of that place. The nurse said he was afraid on his own
in the dark. Even with opiates, he couldn’t find a way to sleep.
He asked for me. I drove right over. He stopped breathing that day.

There was a blood moon, auger of end times, in the days
before his death, a lone orb pointing the way,
an opening of sorts, a door for him to slip through, quite easily, on his own.

Christine Swint, Driving My Father Through the End Times, a Sestina

After her tea she gets
the big pot and scrubs vegetables for soup.
Her knife is rhythmic against the cutting board,
her felt slippers scuffing from counter to stove
and back again. I see her mouth move sometimes
as she sways, mincing, mincing her life.

Sarah Russell, Mornings after breakfast

Ever since my daughter planted cover crops in the fall of 2016, I’ve been fascinated by winter rye. How tall and glorious it grows. The subtle colors of its ears. The Catcher in the Rye, and the delicious homophone with wry.

Although it’s almost February, I finally ordered the seeds, and this morning went out to plant. […]

And while I’m out in the dirt, I have time to think about writing, think about how messiness gives the eye and the mind nooks and crannies to explore. How it feels to dig in and turn over, to break the blockages apart, to weed through the words. How the rake finds new roots and clumps get rid of. Sometimes I get an idea for a poem.

This morning, I thought about how I’ve been working on a poem that complains about those people who say home-baked bread can’t be “from scratch” if you don’t grow your own wheat–and here I was planting rye! And I thought about how it’s better to experiment–and risk failure–in a poem, just as this rye patch may fail. This might be the shortest diary ever. We’ll see.

Joannie Strangeland, The rye diary

It’s been two snow & ice storms, four poems submitted to one venue, plane tickets to AWP19 bought,  more presidential candidates announcing than I can remember, lots of reading and lots of writing since my last confession. […]

Going through another of those writing funks where I am not happy with much of what I put on a page. Of course, this is not the first time this has happened and I confess that I am well aware that it will happen again. I’m writing a lot trying to push through it. It’s the only way I know to get back on track. Still, it is frustrating when this happens and you wonder if you will ever put another poem on a page that you are happy with.

Michael Allyn Wells, Confession Tuesday – Federal Workers on My Mind

We can get so hung up on not writing that it makes us anxious and can block us. In a recent issue of Mslexia, poet Tara Bergin says that to combat the terrible fear of starting a poem, instead of saying “You’re going to write a poem tomorrow”, she leaves post- it notes for herself that say things like, “Read such and such an article and take notes” and other notes reminding her to read different things. This means she’s always got something to do and is not failing because she isn’t compiling an actual poem. I did something like this on the long haul towards my PhD – lots of notes to self on my desk, in books and on my phone.

My insomnia is a thing I don’t necessarily like but have come to accept. so in the particularly fevered early hours of PhD days, I made it a thousand times worse by making visual Insomniascapes on my phone -tiny images of me placed in surreal landscapes, or just the landscapes themselves. These were places I knew and ran or walked around to clear my head or to think more but the various apps made them nightmarish. This was possibly a useful kind of displacement. I’ll never really know. Maybe I ought to write poems to accompany them. Even though I wasn’t writing words there but I was still “writing”. The practice was connected with certain emotional and psychological states and was undoubtedly a creative one which was linked with writing.

Pam Thompson, “Writing” Towards Writing

It’s been really helpful to read these posts by poets writing about how they find their way into poems:  Writing” Towards Writing by Pam Thompson and fearless creating by Julie Mellor.  As well as containing useful and practical advice, the posts are a comforting reminder that I’m not alone in finding writing hard going at times.  I have a poem that’s been kicking around for months.  It’s there because I realised that another poem I was writing was really two poems.  So I managed to finish poem one but had these scraps of ideas, lines and words for the second poem.  I suppose it’s something like knitting a jumper and finding there’s some good wool left over that it would be a shame to waste.  Or realising you bought too much expensive wool and that it would be plain wrong to leave it lying around going to ruin.  Do you understand the kind of nagging feeling I’m left with?  All January it’s been going on and January hasn’t been the best of months to begin with!

Josephine Corcoran, Finding your way into a poem

I’ve been experimenting with combining sketching and poetry writing, and last night, I took a larger leap.  I had been looking at an old manuscript, and I was intrigued by some of the images (not all of them mine–I can trace at least two of them back to this poem by Luisa Igloria).  I started with those images and wrote the words of the poem.  Then I sketched a bit.  […]

These new creative directions come with questions.  Do the poems work without the image?  Is there a market for these poem-like things with images?  As I continue to do them, will a narrative arc emerge?  As images continue to make an appearance, should I read anything into them?

Kristin Berkey-Abbott, When Sketches Meet Poems

Day Three: Thursday, Jan. 24:  This day began later than the others thanks to a dentist appointment. (Apparently, after 40 everything falls apart, even if you’ve been taking relatively good care of your teeth.) I could still sip coffee with half my jaw shot up with Novocaine, so I trekked to Starbucks despite the late start.

Sure, it’s totally a cliche to be a writer working in any coffeehouse, let alone Starbucks, but cut this working mom of three some slack, okay? At $6 a day for coffee and a bottle of water (+ tip), with free WiFi and a corner seat next to an outlet, plus the ability to focus for three solid hours without the distractions of home or the office, it’s probably the most convenient and cheapest residency a poet-mom can get.

And even — or maybe because — I’d arrived later in the day, I stayed later too, (the Starbucks baristas must love my loitering ass) and finished a solid draft of the review. I concentrated on the beginning and writing about all of the parts of Esperanza and Hope that make it worth reading and found quotes to demonstrate and by the end of the day I was over-caffeinated, under-fed, and more than a little grumpy as a result, but very satisfied that I finished the week with a completed piece of work.

Sarah Kain Gutowski, Micro-Sabbatical 2019

Delighted to receive my copy of “Mary Ventura and the Ninth Kingdom,” a new short story published by Faber & Faber that Sylvia Plath wrote when she was 20 years old, and Mademoiselle rejected. She didn’t work on the story again for two years, and when she did, she diminished the mystery and darkness of it. A reminder that we, as writers, often let editors guide what and how we write way too often – and just because something is rejected, doesn’t mean it isn’t good. She was just way ahead of her time. This story seems today, Murakami-esque, in the school of magical realism or symbolism – some resemblances to the story of Snowpiercer, in fact – at the time, it must have been very surprising reading indeed. I wish she had been encouraged to write more short fiction – this piece shows she had a real talent for it. One more lesson from Sylvia: don’t let editors discourage you from writing something different, or something people haven’t seen before. Or, in modern parlance, F&ck the haters.

Jeannine Hall Gailey, Midwinter Sun, Four New Poems up at Live Encounters, Spy Animals, and Plath’s New Book

One thing that is interesting about reading some of the lesser-known or recently translated Tang poets (e.g. Meng Chiao, Li He, Li Shangyin) is the realization that, beyond the Li Po–Tu Fu–Wang Wei axis, not all of the Chinese poets were as focused on the clarity of the image the way these (and some others) often were.  From the standpoint of English-language poetics, we tend to see Li Po, through Ezra Pound’s translations, as the avatar of imagism, though he also wrote poems of mystic journeys that veer into the surreal and dreamlike.  […]  But the emphasis on the imagist “thing” has until recently tended to leave a lot of other Tang-era poets out of picture.  A. C. Graham began to remedy that somewhat in his Poems of the Late T’ang (1965), and in recent years, further translations of individual poets have been more frequently published.

The latest of these is the work of Li Shangyin (813-858), translated by Chloe Garcia Roberts (New York Review Books, 2018).  This volume includes not only Roberts’s translation of approximately 50 pages of Li’s poetry (with facing original Chinese), but also the versions by Graham and some by Lucas Klein (most of which are duplicate poems, making for interesting comparisons).  Li’s style is at times naturalistic and imagistic, but more often allusive, metaphorical, and, like Li He’s, surreal.  His work has historically been considered extremely obscure or, as Roberts puts it in her introduction, “unknowable and elusive . . . almost baroque, opulently layered with distinct mythological, historical, personal, and symbolist imagery” (xi).  This, of course, makes him difficult to translate. […]

Perhaps of use is an ars poetica, which begins,

At dawn, use clouds
To conceive the lines.
In winter, hold snow
To divine the poem. (33)

Mike Begnal, On Li Shangyin

I’m thinking of the whole complicated continuum from Pastoral poetry to the current imbroglio of ‘eco/environmental poetry’. I’ve been wrestling with this ever since I read Yvonne Reddick’s tour de force of exegesis in Ted Hughes: environmentalists and eco poet. I think I lost my way in the second chapter in which she summarises the sects and subsects of ecopoetry criticism: the topological, the tropological, the entropological and the ethnological. There are probably more by now, but they didn’t help me to entangle what I think of as ‘nature’, living as we do in a land where every metre has been named, walked, farmed, exploited, fenced, walled, built on, abandoned and reclaimed. All I know is that is if we continue degrade the ecological balances of the world it will die. The earth will get over that. It doesn’t care. It’s already gone through four major extinctions, not least being the one caused by the emergence of oxygen in the free atmosphere. It doesn’t care for us. But it seems obvious that we need to care for it if we care anything for ourselves.

When it comes to poetry that concerns itself with the natural world (and I’ll strenuously avoid that capitalised cliche Nature) I guess my first big eye-opener was Raymond Williams’ The country and the city which was my introduction to the idea that words like that are culturally constructed, and go on being deconstructed and reconstructed. Very little of the poetry we were given at school concerned itself with the city and the urban. It was pastoral, nostalgic and often sentimental . Poems like ‘The deserted village’. Poems like ‘Daffodils’. It took me a long time to work out why I distrusted ‘Daffodils’ but the clue’s in the first line:

I wandered lonely as a cloud

The first word; I. It’s not about daffodils, is it? It’s about the poet and what the daffodils can do for him as he wanders (ie purposelessly) and lonely (ie in self-elected solitariness) as a cloud (ie diffuse and without responsibility). It’s what I thought of when I heard Gormley’s phrase ‘ a pre-narcissistic art’. He did a revolutionary thing, Wordsworth. It’s a shame this poem is what he’s chiefly remembered for by folk who aren’t that interested in poetry. He opened our eyes to a power and loveliness beyond the bounds of a predominantly urban and urbane culture.

John Foggin, Green thoughts, and a Polished Gem: Alison Lock

“Nature poets” can be fierce, asserting the need for stewardship of our blue planet; poets who write happiness well understand–and convey–that pain and sorrow remain our companions in life. That does not mean a focus-on-the-positive Pollyanna attitude. No–to compose poems that show us we have every reason to love what we encounter takes bravery, because we so often fear what the world offers. To do so takes deep acknowledgment of suffering, not just a glancing nod, but compassion. The poet may not “behave well” in his or her own life but has the practiced gift of observation and enough craft to show the reader difficult perspectives.

Sometimes, gladness and optimism and beauty get obscured by experience and griefs. Next time that happens, maybe turn to poems?

Ann E. Michael, Remembering joy, redux

I just finished listening to the podcast “On Being with Krista Tippet” where Tippet interviews Mary Oliver. I am still in the glow of Ms. Oliver’s voice, her words, her generosity. It originally aired in October 2015 and so was conducted in the last years of her life when she had left Provincetown, Massachusetts after the death of her longterm partner, Molly Malone Cook.

One of the many things that I jotted down while listening to Oliver is:  “Poetry wishes for a community.” She also spoke about “the writer’s courtship” and the importance of creating time and space in one’s life to write — preferably while being outdoors. […]

Here is what I know: poetry needs community; it thrives when poets come together to write, to share ideas, to acknowledge the poetic voice in one another. These retreats always leave me feeling nourished. I do not know what I would do alone in a garret unless I had my poetry community to gather with in early autumn and late winter.

Susan Rich, Poetry Wishes for a Community — Mary Oliver, Poets on the Coast, and Groundhog Day Writing Retreat.

I’ve been reading about the art of wood carving in David Esterly’s fascinating The Lost Carving: A Journey to the Heart of Making. The author said several things of interest to me as a writer.

Here’s one that echoes Rilke’s idea of “being only eye,” that is, looking at something so intimately that “self” consciousness falls away but something of the deeper self rises up. Esterly writes:

“Once I gave lessons in foliage carving. I proposed to the students that we reject the idea that carving should be a means for self-expression…The assignment would be to carve a laurel leaf, a leaf of extreme simplicity. I asked the students to throw themselves entirely into the leaf, seek its essence and express only that, putting aside their personalities and carving only with hands and eyes…At the end of the day? There were eight individual leaves, some more compelling than others, but each distinct from all the rest…Trying to express the leaf, the carvers inadvertently had expressed themselves. But it was…a self-expression…from a union with their subject.”

I talk about this a bit when I lead writing workshops at an area art museum. I ask people to give themselves over to looking, and then, by challenging them to write constantly in a timed session, invite the inadvertent utterance onto the page. In this way we give ourselves the chance to surprise ourselves.

Marilyn McCabe, Whittle While You Work; or, Considering Wood Carving and Writing

The passing of Mary Oliver, and the subsequent news articles and social media messages about her, made me realize something about contemporary poetry. There’s so little joy in much of it.

The range of emotions and experience available for poets is limitless, yet the predominant themes in journals and books makes it seem like poets choose to spend more of their energy on the darker side of the spectrum. Now there’s a lot to be depressed about today and a lot to be upset about. Clearly social and political issues influence, and sometimes dominate many poets’ work. And there’s nothing inherently wrong with that. Good writing, whether it concerns tragedy, anger, sorrow or grief, is still good writing. And as I said in a previous post, pain lends a poem a kind of emotional energy that’s useful for a poem. In fact, I think negative emotions are easier to drive than positive ones. But that doesn’t mean that every poem has to feel like a gut punch.

Grant Clauser, It’s Not All Misery: What Mary Oliver Taught Us About Joy

When the moon turned red, so many more stars appears and everything had that crisp look which is hard to explain but the night sky felt as if someone had used the “sharpen” tool in Photoshop, making sure each pinprick of light was detailed and perfectly placed.

As the eclipse went on, I thought–I should be writing. I have this weird superstition about monumental moments–New Year’s Eve, lunar eclipse, birthdays, solstice, Day of the Dead, etc–that I should be writing on these days because it’s a nod to the universe that yes, this is my passion and if you see me writing on these days, it means it’s what I should be doing with my life (and hey universe, if you see this, send me some good luck and inspiration too). 

I realize this doesn’t really make any sense, but it’s a strange belief I’ve carried since I was younger. On New Year’s, let me start the year by reading a poem or writing one, on my birthday, let me be laughing so it carries on through the year.

But during the lunar eclipse, I realized that even though I wasn’t physically writing a poem, I was experience one. I was in the middle of a poem looking out. Insert shooting star. Insert the moment you hear your neighbors laugh because they are out on their patio with a drink watching as well. Insert telescope zooming on a crater. 

I now want to write the poem to create the feeling I had on Sunday. I want to be lost in a poem and not know it’s a poem. Maybe that’s life. Maybe it’s when we’re mindful. Maybe this is something I need to think about more when the reader is reading my poem, is she lost in the poem and looking out, shooting star filled, or is she just lost? 

Who knows if we are the poet or our life is the poem? Who cares to find out?

Kelli Russell Agodon, During the Super Blood Wolf Moon Lunar Eclipse, I Find Myself in a Poem

Poetry Blog Digest 2019: Week 3

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. And if you’re a blogger who regularly shares poems or writes about poetry, please consider joining the network.

This week, many of the poetry bloggers I follow have been reflecting on the life and poetry of Mary Oliver — more even than I’ve included below. Not too many snobs in this corner of the poetry world, it seems. (But really, how can you not admire poetry of such subtlety and power?) Others wrote about such perennial topics as what they’ve been reading, how they’ve been teaching, the practice of writing, and the business of being a poet.


Mary Oliver’s poetry shows us how to pay attention, how to enter into a more deliberate state of attentiveness regarding what is unfolding in nature’s time. Her work is loved by so many because of this quality of intimate stillness simultaneously infused with life’s passionate urgency; her poems explore the path toward a balance of both, a fusion which delights and heals and transcends. Some have argued that poetry such as hers is too divorced from the daily realities we struggle with as a culture and a body politic, but I believe that there is an opportunity in every encounter with people, animals, and nature to deeply connect. Trying to articulate what that desire for connection, and the experience of it when it happens, feels like, looks like, is an important poetic pursuit. Her poems teach us how to bear witness to what really matters: the connection we are all trying to get back to, in one way or another.

Sarah Stockton, Mary Oliver and the Poems We Need

[Andrea] Wulf’s book [The Invention of Nature] begins as a biography of [Alexander] Humboldt but closes with several chapters on others who were inspired by his work; she makes the claim that Humboldt’s ideas about the deep connectedness of everything on earth laid groundwork for environmentalists and the discipline of ecology. Indeed, Darwin, Thoreau, Marsh, Muir, and many others found his texts revelatory and transformative. His writing is supposedly poetic and emotional–he did not think the earth and its denizens deserved less than awe and appreciation. Even though his books are packed with measurements, comparisons, careful botanical descriptions, and minute observations of practically everything he encountered, he allows space for admiring the view. Or, so Wulf’s book says. Now, I suppose I shall have to do a bit of reading Humboldt!
~
Along these lines, the lines of the natural world’s connectedness and relationships–ourselves among these, despite our frequent destruction of them–I find myself thinking of the recent death of poet Mary Oliver. I so admire the work and the woman, or what little I knew of her from a few appearances and through friends who studied with her. My social media feed has been alive with tributes, postings of her poems, and some critique about her standing as an American poet, as if that would matter to her (I doubt it would).

I can just make note that her poems have encouraged me to continue to write about nature, even when I’ve been told nature poets are unfashionable, uninteresting, or unnecessary. Her work taught me how to observe closely, like Aristotle at the tidal pools or Haeckel peering at radiolaria. First notice, listen; then describe, then try to obtain more information, and all the while percolate what experience has created within the observer herself. Maybe nothing earth-shattering comes of the process, but sometimes  there’s a poem…

Ann E. Michael, Observations

I heard her speak at Seattle University about five years ago. She was as generous a speaker as I have ever heard. She told us how she trains herself to write and how she’s kept going over the long haul.
Pay attention.
Be astonished.
Write about it.

These lines are imprinted on my course syllabus and I hope, give my students the sense that poetry is for all of us. They worry so much that they are not creative enough, that their vocabulary isn’t as big as the universe. I try to tell them that they just have to enjoy; just have to have a conversation with themselves. I need to share more Mary Oliver with them.

Here’s a recent interview with Oliver that I read today. It’s time to go out for a walk.

Susan Rich, Poems, Poets, and Posterity

I don’t think I had ever read [Mary Oliver’s “Wild Geese”] before 2018; those first three lines made me woozy with a variety of emotions.  And yet it’s not a poem that encourages us to hedonism–no, it calls us to be more attentive, to be present.

Before our Lenten journaling group, I hadn’t realized the spiritual nature of so many of her poems.  During Lent, we read “The Poet Thinks about the Donkey,” a poem that considers the donkey that carried Jesus into Jerusalem, an event Christians celebrate on Palm Sunday.  As with many of her poems, I thought I understood it on the first read, and then it stuck with me much longer than other poems that are more complex.

During one of our sessions at church, my parents were with me, and later  my Dad called to get the name of the poet we’d been reading.  One of the things I admire about Oliver’s work is its wide appeal to so many people.  The poems are profoundly moving–and yet so quiet, so easy to grasp.

 I love that the poems are short–easy to read in a single sitting. I love that the natural elements draw us in to hear the central message.

I love the theology of these poems. It’s a theology of love and respect. It’s a theology that tells us that we are worthy. It’s a theology that tells us we don’t have forever, so quit wasting our precious days. It’s a theology rooted in nature, but in the every day kind of nature, not the travelling to a distant mountain slope with sherpas to assist us kind of nature. It’s a theology so understated that many readers likely don’t even recognize it as a theology.

Kristin Berkey-Abbott, Farewell, Mary Oliver

Many of the people who I saw mourning Oliver’s passing yesterday were not members of capital P Po-Biz. They were just folks who ran across a handful of Mary’s poems when they needed a lifeline, when they needed a poem that said you are part of this world, your life is precious. These people felt seen by Mary Oliver. They carried her poems on folded-soft paper in their wallets, taped them to their computer monitors, and probably never bought a copy of one of her books.

Mary Oliver had little to do with Po-Biz. I always appreciated that about her. She wanted to be outside in the wild wind more than she wanted to stand in front of adoring crowds. A goodly number of the Po-Biz world looked down their noses at Mary Oliver’s work. Some of that had to do with the fact that she was a woman, a lesbian, a person who didn’t often go to glitzy parties. They said she was soft, sappy, a (god-forbid) nature poet.

Yesterday, I looked at the world a little differently because of Mary Oliver’s passing. Yes, the world felt less observed, as if a spark of love for it had guttered. But also, I thought of all the times I was warned off writing about the natural world. Poems I’ve written about trees have been held up in workshop to ridicule. Even folks in the “eco-poetry” world have suggested that my poems need more of a call to action about the environmental crisis. These are the same folks who dismissed Oliver.

I’m not arguing that everything Mary Oliver wrote was genius. But, I am beginning to connect the dots in the denigration of women (soft, gentle, spiritual, accessible, adjectives used to signify not serious), the destruction and desacralization of the natural world, and some of the poetry that is lauded in our current Po-Biz culture. And I am thinking deeply about the (at this moment) 601 people who shared the graphic I made of Oliver’s “Instructions for Living a Life” on social media. How deeply we need to be reminded of astonishment, of our duty (dare I say sacred?) to share with each other what will buoy.

Erin Coughlin Hollowell, One wild and precious life

Last night I finished Ursula Le Guin’s Words Are My Matter, from Small Beer Press. My favorite bits from the writing of her last decade were an essay called “Disappearing Grandmothers,” a diary of her time at our local Writer’s Retreat Hedgebook on Whidbey Island, “Learning to Write Science Fiction from Virginia Woolf” (whose letters I have been reading,) and some of her reviews, including Philip K. Dick. Quick quote from “Disappearing Grandmothers:”

“We really can’t go on letting good writers be disappeared and buried because they weren’t men, while writers who should be left to rot in peace are endlessly resurrected, the zombies of criticism and curriculum, because they weren’t women.”

I get the feeling I would really have gotten along with Ursula. And her commentary on Virginia Woolf made me realize why I’d been picking up her writings again – she really did have a way of approaching old subject matter in a singular way. I’m learning a lot from reading non-living writers, and coincidentally, a friend just sent me a collection by Mary Oliver, who recently passed away. Of course, we should appreciate and cheer our living writers, both friends and heroes, too! But it does feel fascinating to be reading letters from Sylvia Plath, Emily Dickinson, Virginia Woolf, and essays by Ursula Le Guin – like the most terrific conversation with women writers across time.

Jeannine Hall Gailey, New Poem in Star*Line, Supermoon Eclipses, A Little Seattle Color, and Surviving January by Reading Writers’ Words on Writing

THE LETTERS OF SYLVIA PLATH, Volume 2:

First, you should know, I actually love reading other poets letters. Many many years ago, I read Elizabeth Bishop & Robert Lowell’s and Zelda & F. Scott Fitzgerald’s letters (note: there is are many more Zelda letters than F. Scott given that Zelda didn’t bother to keep many of his letters–a fact I find rather funny and it worked for me because I have always been a little more interested in Zelda anyway). 

What I love? How Sylvia sometimes signs her letters “Sivvy,” and how as I read her letters I get a better since of her voice.  I love her boring details such as “I’d love vitamins! I’m convinced everything the British sell is without nourishment whatsoever” and “The Rice’s sent us the strangest Christmas card!…an ominous rhyme with all sorts of mixed metaphors. Well, no doubt they have good intentions.”

For me, this is my favorite parts of reading letters–the details of all of it. Plath’s words bring me into her world–which was SO Ted focus–(note: this is a LONG book, so I’m still just dabbling through it), but Ted this is and Ted got a poem here and … it’s a reminder how so much of Plath’s life was catering to Ted. Even one letter her has her telling her inlaws she made Ted eggs before sending him off.

I see the struggle as well as the joy in her writing and I can get lost in this different time very easily.

Kelli Russell Agodon, What I’m Reading… @MichelleObama @JenniferWeiner & Sylvia Plath Letters

A new episode of New Books in Poetry is up, in which I speak with poet and performance artist Ivy Johnson about her book, Born Again.

The poetry and prose in Ivy Johnson’s Born Again (The Operating System, 2018) beautifully dives into the ecstatic expression of religious experience. With its confessional style, this collection gives power to the female voice, rending open that which would be hidden behind closed doors. The work blends sensuality and spirituality, merging the grounded reality of existing a physical body in the world with a sense of worship, prayer, and spell casting.

“I submerge my hands in ink and smear them across the wall
I cover my body in rich purple paint and rub against white paper
I place a sticker of the Virgin Mary on my bedroom window next to the fire escape
She hurts with the glow of blue frost
I race down the stairs to make snow angels in the dog-piss
Fill the silhouette of my body with marigolds”
— from “Take a Moment to Gather Yourself”

You can listen to the episode here.

I’m still in the process of figuring out how to be a good interview podcast host, how to shuck off my own nervousness and dig up confidence enough to feel strong in these interviews. But whatever limitations I believe I have at this moment, they are more than surpassed by the intelligence and insight of my guests so far.

Andrea Blythe, New Books in Poetry: Born Again by Ivy Johnson

The blurb is a frequent anxiety-laden topic of discussion on Facebook. Some people have made alternative suggestions, e.g., putting a poem on the back cover. That’s a cool idea, but for now most publishers want you to obtain blurbs. So just go about it sensibly and trust that it will work out. Then later when some other poet with a new book coming out asks you to write a blurb, remember the poets who said yes to you and say yes to the poet who now asks you to do a blurb. 

Diane Lockward, The Blurbification of Poetry Books

So much drama in the Twitter writing community lately. I’ve been thinking about it a lot. We claim to be supportive, understanding, solid. We say we support emotional and mental illness or distress. We exclaim our inclusiveness and support for diversity. We’re open-minded……until someone’s opinion isn’t in line with ours. Or someone’s emotional state leads them to do/say something unacceptable or questionable. There’s no understanding or forgiveness then. Apologies are ignored and a lifetime of goodness rejected. And Twitter stays on the soap box for days and days and days, gaining momentum as it goes. I try hard to stay out of the drama and I try hard not to condemn the condemners. I don’t want to be that person. But, obviously, the whole situation bothers me. The hive mind can be a judgmental thing.

Charlotte Hamrick, Poem: Support is Conditional

Mimic claws cutting,
but imaginary
and shivering. Touch

the wound and it isn’t
there. No scar, no scab,
no knife. Shadows that mute

and marble light like waves
under water. Shadows
that blunt and block, black.

Shadows that stab the light
like spines of a cactus.
The thin blade of dusk

that separates sand from
dark. Bright at my back,
eyes that glitter and close.

PF Anderson, Anamnesis

The one class I teach on Fridays, Protest Poetry, was also hard. On Wednesday I’d taught poems about the death of Malcolm X and while most of our discussion was productive, there had been a couple of bad moments–nothing ill-meaning, but students making insensitive comments as they thought aloud about deliberately disturbing poems. I had anticipated the need to discuss a homophobic slur in Amiri Baraka’s “Poem for Black Hearts,” and that went fine, but I hadn’t anticipated pushback, for instance, against anger itself. (We’d been reading about Emmett Till, the Baptist church bombed in Birmingham, a mounting death toll and litany of abuses–in what world is anger not inevitable and utterly just?–but as present politics continue to teach us, we don’t all live in the same world, and many of the students in my classroom are like Ursula, full of verve but not yet alert to the reality of other perspectives.) I responded in the moment, but in retrospect I realized I hadn’t responded strongly enough. So I began with an apology, asked the students to freewrite about a recent time they felt angry and what they did about it, then handed out “The Uses of Anger” by Audre Lorde. The discussion that followed was raw, messy, respectful, persistently oblivious, emotional, and awe-filled by turns, and I ended up having a couple of intense follow-ups with students afterwards. It didn’t do all the necessary work but it was a start.

Lesley Wheeler, Information and energy

While I want to do more with this poem, to lead them through it, I know that if I do, I’ll kill whatever has occurred organically. Some students will feel less competent if we reduce this experience to “look to the teacher.” I want them to feel competent in their abilities, that they (or anyone) can notice what is present in poems. To know what’s present in poems, one must be present with the language of poems. This is what they’re learning how to do.

They are beginning their journey as readers of poetry; they are noticing language and are beginning to make connections that are interesting and surprising. And they are all rooted in the language itself to do so.

The majority leave happy. I leave happy. A successful day one.
I walk out of my room into the hallway, energized by the learning that’s taken place, by their recent immersion in a small, beautiful poem on their own terms. I know this is setting them up for more of this good stuff of poetry that is to come. I know they’ll advance to larger and more complex poems. I know that we’ll have to get to analysis and all the ways one must learn to write about literature. However, today they slowed down and noticed what was there. Today they felt what it was like to really be present with poetry.

Scot Slaby, Day 1: Being Present with a Poem

I’ve stopped waiting for the magical ‘writing time’ to manifest itself. It rarely does. I work full time. Weekends are often busy. I walk the dog. I enjoy swimming. I hate housework but like things to be clean and tidy all the same. Somewhere in all this is my writing: a sentence written in my notebook is writing, a headline cut from the newspaper is writing, half an hour typing and editing a poem is writing, attending a day’s workshop is writing (luxury), watching a documentary about Blixa Bargeld’s work with German experimental music group Einstürzende Neubauten and transcribing some of that interview is also, for me, writing. It all goes into the mix. I  often write things I’m not happy with, but I’ve come to accept that as part of the process. It bothers me less and less. What’s important to me is that I’m doing the work and that occasionally I produce something good. I’ve gained more faith in myself and my work through this approach. As [Eric] Maisel says [in Fearless Creating]: ‘Working means starting’ (p.93) so I try to cut through any blocks and just do it, allowing myself lots of very small opportunities to ‘start’. That way, even a single word gleaned from a book or an article, or overheard in the pub, has some value. Making a note of it means I’ve said ‘yes’ to the work.

Julie Mellor, fearless creating

In November, after reading memorials to Lucie Brock-Broido, I took out her book Stay, Illusion and started a practice of pulling one image or line from a poem and writing from or in response to it. Will any of this turn into “real” poems? Maybe. The point is less about the results and more about showing up to give her poems time and attention and to experiment, play, and try writing in a way that doesn’t feel familiar to me.

I confess that I have not followed this practice strictly. Some days, other poems insist on being written. Some days, I fail to carve out the time. Most days I have a momentary panic that nothing will come. But it’s a practice, so I take a breath and start with something, anything, because I do believe in showing up, in reading as much as possible, in writing as close to daily as possible, in helping poetry to get into my body so that when the magic happens, I’m there for it with my whole self.

Joannie Stangeland, Pick your practice

I haven’t felt like doing much but now I’m coming back to life and revisiting old notebooks.  I’m beginning to assemble new poems.  I finished my commission for Ginkgo Projects/Bloor Homes and I think that some of the poems I wrote for this project will sit well in my next book.  My poem ‘To Bring Me Luck’ about older women and ageing might also belong there.  At this stage, I’m gathering poems and being open-minded about a possible theme.  I would dearly love my next book to feel coherent and thematic and my aim is to be able to articulate this.  I recognise that I really struggle with explaining to anyone what my work is about.

One thing is sure: I feel more determined about shaping my next book but that isn’t to say that I’m trying to force a theme upon it.  That would be a dreadful mistake.

Josephine Corcoran, Slow January continues

Have you ever wondered what it costs to be a poet? This year, I am tracking my readings: earnings (or lack thereof), expenses, book sales, etc. in an Excel spreadsheet.

Now, I’ve always done a bit of that for tax purposes. But what does it really cost to travel to a reading, not receive any payment, and sell one or two books? I’m keeping the numbers and making comments about each activity. I really want to know how much the effort is worth in the life cycle of a poetry collection. Here are some questions I want to know in the first year of a book’s publication:

1. Of the books I bring to readings, how many do I sell?
2. Will I peak in sales in my region, but decline towards year’s end? How can I counteract that?
3. How many readings do I participate in annually? How many free readings? 
4. If I cover travel and expenses, does that cancel out the stipend?

Put aside that poetry is an art, and it is a privilege to participate in this community. I’m looking at the numbers.

Will update you in a few months. April seems appropriate. 

January Gill O’Neil, By the Book

I think I’m going to create a new folder called Hold It! (I’m a great creator of folders…) and put in it every new poem I’m excited about, and I’m not allowed to look at them until at least a month after I’ve put it in the folder. AT LEAST a month. Six months is probably better.

In six months I’m a different person than I was six months before — new skin, blood, colon, fingernails, as cells replace themselves throughout the body at varying rates. So surely the new me will have some fresh insight.

But I’ll have the same eyeballs, though, and mostly the same brain, but new neuronal networks. So in order to shove myself along developmentally, as the pink-faced new poems cool their heels in the Hold It! folder, I should work on my eyesight and my memories. Which means to me that I should read more and widely in poetry especially, and when I find a poem that makes me say “wow, that is good work,” spend some time taking a look at how it works at working. But also other kinds of written work, because all kinds of literature can feed perspective. And I should also look at art, listen to music. And probably dance a little, even if it’s just in my kitchen.

All these kinds of inputs have the possibility of opening my brain to new ways of seeing, new ways of communicating, new ways to imagine. So when I open that folder again, I can see with altered vision and new light.

Marilyn McCabe, How Do I Know?; or, Learning to Assess Our Own Work

Poetry Blog Digest 2019: Week 2

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. And if you’re a blogger who regularly shares poems or writes about poetry, please consider joining the network.

This week saw some poets continuing to blog about their 2019 resolutions, goals, or plans. I also found a number of interesting reports on morning routines and local weather conditions, and thought-provoking, brief essays on such topics as poetry and place (Erica Goss), music vs. poetry (Marilyn McCabe), and creativity in poetry publishing (Ann E. Michael). And of course it’s fun to hear what people have been reading. As usual, I’m sure there’s much I’ve missed, and I encourage all who can spare the time to put together their own blog digests. It’s a fun way to kind of stroll around the blog neighborhood—that’s how it feels. All you really need is a free Feedly account.


Two of the books I received for review consideration in 2018 came from poets who live and write in the Mojave Desert of southeastern California: Starshine Road by L.I. Henley, and Waking Life by Cynthia Anderson. Henley writes of growing up in the Mojave, of walking down dirt roads as a child past a house filled with sketchy humans to catch the school bus, while Anderson focuses on the desert as an ever-changing presence, balanced between reality and mythology.

These books caught me by surprise, not just because of their subject matter, but because of my own history with the Mojave Desert. My grandparents built a cabin on top of a hill in Landers, fifteen miles north of Yucca Valley. Before they retired, the cabin served as a weekend and holiday getaway for their children and grandchildren. I spent many happy days in the desert while I was growing up, exploring the area around the cabin, and going on adventures with my grandmother in her ancient El Camino.

In June 1992, the Landers quake destroyed the cabin. I went to see the destruction in August of that year, and I haven’t been back since.

These two books evoked nostalgia for the Mojave Desert that took me completely by surprise. I remembered the brightness of the stars at night against the blackest sky I’ve ever seen, kicking up anthills and running from the huge, furious ants as fast as I could, and peering into the faces of desert tortoises. I remembered sitting at night with my grandmother and watching fake bombs from the Marine base explode over the eastern mountains. I remembered the looks on my parents’ faces when I stomped on a scorpion in my bare feet. And I remembered the heat, silence, and the smell of the creosote bushes.

Erica Goss, The Poetry of Place

night bleeds in from the east
count the tourniquet stars

so slow we dream
like poisoned trees

in the morning I take
the same little walk I always do

James Brush, routine

I woke up before I meant to–I had a coughing fit and found myself fully awake.  I got up thinking I might go back to sleep, but as is often the case, I didn’t.  I spent some time looking through my poetry notebooks from October 2017 to now; one of my goals for this year is to type more of my finished drafts into the computer.

I am struck by all the hurricane imagery in these poems, which is no real surprise–Hurricane Irma came through in September of 2017.  I’m still seeing hurricane damage mainly in terms of trees that are permanently bent and roof repairs in various states of progress.  Of course, I also see the trees that aren’t there, like the beautiful frangipani tree that I saw on my way driving to and from work.  I had looked forward to growing old with some of those trees, but now, they’re gone.  And of course, because of the hurricane, along with reports of faster sea level rise than expected, we’re rethinking those retirement plans too.

It’s been a delightful morning.  I often wonder if I wake up early because I so treasure these early mornings of creativity.  I suspect that’s true.

Kristin Berkey-Abbott, Hurricane Hauntings

In the dark I hear the rustle of wings in the treetops: on Wednesday, E. commented on the quiet, the crows having already flown north to start their day. Then the rustle again, and a call of a bird of prey. A hawk maybe? The dog doesn’t even look up, but keeps the steady pace of “Gå pent” on the morning run. We’ve discussed renaming him Pacer.

Stuck in traffic last week and late for work, I had time to look around and over the fields. Now brown and flooded in places – edged with ice, and mostly empty. A hawk was perched on a fence post right next to motorway. Still and beautiful in the sunrise, he was like an exclamation point highlighting the exceptional.

Ren Powell, January 12, 2019

My black and white tuxedo cat with milk-dipped paws is fast asleep in the other room. He is more interested in actions than in words with food coming in a close second. Poetry is pretty far down his list. Getting a job doesn’t even enter his mind.

Tomorrow I return to work after an extended break which had me writing full-time, traveling to Morocco, and generally feeling more myself. I exercised more, read more, ate healthier, and was a kinder friend and lover. My goal is to keep things going in this direction even as I enter back into the work world.

Tonight this poem reminds me that even when time is short, I can take 5 minutes and watch the sky, study the Olympics outside my window and check out the morning bird population which changes daily. If you are a teacher or a professor, a student or colleague—may it all go well tomorrow.

Susan Rich, Extended Outlook for 2019 – Tuxedo Cats, Sabbatical Look Back, and Happiness

So what are your survival tips for surviving the dark, cold winter months? January and February are my least favorite months to live around Seattle, it’s pitch black by 5 PM and the sun doesn’t really come all the way up…ever, plus the cold wind and rain mean you never really enjoy being outside. It’s cold and flu season so I’m not surprised I finally caught something, and this bug is a loooong one. I’ve reorganized my office, written a few poems and revised both my poetry manuscripts, but honestly, I’m restless, ready for a little springtime. (I know, we’re still a long way, but Seattle does start to have some camellia and cherry blooms sometimes as early as late February.) I’ve already started thinking about how to successfully approach AWP – I’ll be doing one offsite reading, and I’m planning to spend max time at the Bookfair saying hi to friends and checking out books and lit mags, my favorite part of the conference. My big goals were: getting more sleep, trying to do something fun once a week, and reaching out and socializing with more people, have all been rendered moot by this evil virus (waking up with early asthma attacks and tossing and turning with fever not conducive to more sleep, sadly, and you definitely don’t want to give this bug to anyone you like), but I hope to be getting better soon and back to my 2019 goals! I also made a playlist called “Survivor 2019” which includes this Sam Smith song from the Netflix series Watership Down, called “Fire on Fire.” Happy January!

Jeannine Hall Gailey, New Review of Who is Mary Sue in The Rumpus, New Poem in Scryptic, Poems set to Jazz, and the January Doldrums

The painting above is “Breath” by Lee Krasner, which I found in the New Orleans Museum of Art last week, on a breather from work (the new term starts tomorrow). I don’t know much about Krasner, but the exhibit caption says this painting’s “rhythmic marks…call forth the rise and fall of breathing, as well as the more meditative act of taking a deep breath. Krasner’s paintings were often more subtle and introspective than her husband Jackson Pollock’s frenzied ‘action painting’…one reviewer condescendingly claimed, ‘There is a tendency among some of these wives to ‘tidy up’ their husband’s styles.” I was drawn to the canvas for its beauty, but that caption transformed me into an ally.

Looking at art, I’d been wondering about my lack of interest, this year, in making new year’s resolutions. Do I really need another list? I’d also just read this article about resolutions and was considering a couple of points the reporter made. For instance: “Imagine it’s the next New Year’s Eve. What change are you going to be most grateful you made?” Hmm–living a more peaceful life, I guess. Concentrating effort more thoughtfully and taking care of myself so that I can be more open to unpredictable emotions, and to other people. I love January O’Neil’s “Poetry Action Plan”, but I tend to tick so doggedly down checklists, virtue becomes bad habit, in that I get so busy fulfilling promises to myself and others that I don’t take enough meditative, restorative time. Also, one of the experts the journalist interviewed (oh, so many experts out there on self-improvement!–shouldn’t we all be perfect by now?) recommended “reflecting on what changes would make you happiest, then picking a ‘theme’ for your year. That way, even if a particular habit doesn’t stick, your overarching intention will.” As someone who has tried and failed to create a meditation practice about five million times, that resonated.

So, standing in front of “Breath,” I chose my theme for 2019. Breathe.

Lesley Wheeler, Breathe (a brief post on posting)

If I were the type to make resolutions for self-improvement, I would resolve to start doing yoga again, schedule a mammogram, get outdoors more, and lose some weight.  But I’m more the type to break, rather than keep, promises to myself. So I’ll just say I have some goals for the next 12 months or so, which are some of my commitments to poetry.
Publish at least 12 reviews of books of poetry.
Start a new website devoted to reviews of poetry chapbooks. (BTW, if anyone wants to join me in this endeavor, just email me at risaden@gmail.com)
Accrue at least 50 rejections of poetry submissions to journals, and 10 rejections of my current manuscript. (I’m not quite ready for the 100 club!)
Read, read, read. Write, write, write.

Also planning to attend the Palm Beach Poetry Festival this month; share a booth for Headmistress Press with Lana Ayers of MoonPath Press at AWP in Portland in March; do a workshop with Carl Phillips at the Port Townsend Writers Conference in July and meet monthly with the Upper Room Poets for workshopping poems.

Most notably, I plan to retire in 2020 (which probably won’t mean leaving healthcare entirely, but a big workload reduction) to clear up time for more poetry-related activity. And, after I retire, I hope to plan a road trip across the US to visit with poets that I’ve only so far met in cyberspace.

Risa Denenberg, Sunday Morning Muse in 2019

As 2018 ended I spent a lot of time reflecting on the past year, both on the good things and the not-so-good things. In early 2019 I would complete my MFA in poetry and turn 40 so the year would start off with some pretty big milestones. I thought about what I wanted for 2019 and as I entered a new decade of my life. After a bit of thinking and reflecting, here are my goals for 2019 – I’m not calling them resolutions because those seem fleeting. So I’ve settled on calling them goals.

1. Write reviews and leave ratings for the books of poetry I read. I read a lot, 221 last year to be exact, and at least 50 of those were poetry (I don’t have the exact numbers in front of me). One way to easily support poets is to leave ratings and reviews for their books. This is something I ask of people for my books of poetry so I need to always do this for others. I always leave ratings but reserve my reviews for books I love. I need to spend the time to write a review for each book of poetry – it doesn’t have to be a long essay, but a few sentences go a long way.

Courtney LeBlanc, 2019 Goals

Despite so  many low energy days I’ve been doing a lot of reading and research. I don’t think I’ve shared that I’m a Contributing Editor for Barren Magazine and Mockingheart Review now. I recently published an interview on MR with poet Sam Rasnake and I’ll have an interview with poet and writer Tina Barry on site later this  month. I love doing interviews with writers and I thank Clare Martin, creator and Editor, for giving me this beautiful gift of a venue to publish them. The new issue of MR will publish some time after January 25 and the new submission window will open March 1.

I read Flash Fiction and Short Fiction for Barren and I just love it. It’s so exciting to read such a diversity of writing and to find golden nuggets to share with our readers. We get submissions from all over the world which is so gratifying. Our new issue will drop tomorrow, January 14 and I can not wait for y’all to read it! Submissions are always open so polish up your poetry, fiction, CNF, and photography and sent it to us!

Also, I’m working on a project for Barren that has me so excited I can hardly keep from blurting it out to everyone. Watch this space, watch my Twitter account (@charlotteAsh) and Barren’s Twitter (@BarrenMagazine). I don’t know exactly when it will be revealed but it’s dynamite!

I’ve been reading some great poetry. Right now I’m reading Duende by Tracy K. Smith, A Woman of Property by Robyn Schiff, Tropic of Squalor by Mary Karr, and The New Testament by Jericho Brown. Only As the Day is Long by Dorianne Laux is on it’s way to me via snail mail and I’m really looking forward to reading it. Love me some Dorianne!

Charlotte Hamrick, What I’ve Been Up To: #Writing #Reading #Poetry #Books

I love words, poetry, but it’s music that wrenches me most deeply, often vocal music, often that magic of tune and word and beat that creates a live thing that enters me, skin and bone, gut and vein. Many things move me, but only music guts me. Well, with an exception: Hearing Ilya Kaminsky orate “Do not go gentle.” That was transformational.

I dabble in music but am no musician. Still I can hope and strive to create in my own written work this kind of reaching and opening, this level of capturing light. If I could write a poem that could even slightly glitter like those performances, I will have done what I set out on this path to do.

So for this new year, I wish for all of us that we find some light to let loose from our jagged edges, that we find our shine.

Marilyn McCabe, This Little Light; or, A Wish for the New Year

Having lost about 50% of my hearing, even with hearing aids, there’s a lot of music I can’t listen to because I’ve lost all the top end (which makes the sublime Everley Brothers sound as though they’re singing flat), and being in a pub for a reading can produce a sound effect in which all the individual sounds claim equal value and lose their relative depths and distances…the sound equivalent, I suppose, of an out of focus image, which can be quite pretty until the image you’re looking at is print. […]

I’ve been to several readings since the start of December, and what I especially liked about them was that I could hear the poems. It was nothing to do with the mic being set right. It was all about the the readers and their delivery, which was so clean and clear I could do without hearing aids. One reader was Julia Deakin, who is always accurate, distinct. One was Tom Weir (twice) who read quietly, but always with that concern for the heft and texture of the words, who, like Julia, tastes the consonants that matter, and also, like her, reads with a rhythm that falls on the key words, so sound never displaces meaning, never over-rides the syntax and the sense, and lets the words have their surrounding silent space, which is the aural equivalent of white space on the page. And one poet was today’s guest, Emma Storr, who I’d never heard reading before and who was a revelation. We all know poets, some of them famous, who simply can’t read like that. I wish they’d make the effort. It’s not about theatricality, or volume or elocution. It’s about diction and a concentration on the meaning of the words they say. Thank you Tom and Julia for letting me hear the poems, and thanks to both of them for respectively guesting at the last session of The Puzzle Poets Live (at The Shepherds Rest) and at the first of a new venue which we hope will now be our permanent home..The Navigation in Sowerby Bridge.

John Foggin, On hearing and listening. And an (un)discovered gem: Emma Storr

In the later 80s, I started doing some editing and publishing of other people’s work. My dear friend, David Dunn, and I had a small press that put out two broadsides and four chapbooks. Taught me a great deal. I helped to edit a Xerox-zine in Philadelphia in the 80s. Meanwhile, I kept getting work into small press journals nationwide, mostly these photocopied deals with tiny readerships; but the minor successes kept me going. After awhile I had enough hubris to try the better-recognized journals, with some success. This is how it works: persistence, but not bull-headed, blind persistence. One persists through the learning process; revises, practices, finds trustworthy people for feedback.

My sister, husband, and I all have worked in the publishing business-as-business, in how-to and B2B magazines; I was a typographer, proofreader, copyeditor, writer, indexer. All of that background was valuable in its way and never kept me from pursuing creative work. So I did eventually go for my MFA, in my 40s, and I got chapbooks and a collection published at long last in spite of—oh, you know—life.

Because I feel that poetry needs audience, I was early to jump on the online publishing wagon, despite colleagues who warned that it wasn’t really as acceptable a venue as academically-affiliated print journals. Nonetheless I’ve found myself enthralled by online journals, by audio-poems, moving-poems (video), podcasts, blogs. I’ve watched well-respected magazines migrate to the internet. And there are problems with online publishing. I know about them, wrestle with them, yeah—keeps life interesting.

My route has not been the academic route, although I work at a college today; I am more of an outlier. Poets and writers can be nurses, doctors, mechanics, or landscapers, grandparents, people with disabilities, insurance industry managers, post office workers, tutors. Each of us discovers her own process for writing and for getting the poems into the world. Mine is pokey and slow and frequently interrupted, and my next long collection won’t appear until 2021, nine years after Water-Rites, my first. But I feel satisfied with my publishing record, such as it is. People do read my work, which is kind of the entire point of writing, no?

When everything is easy and there’s no chance of failure, life is boring. Writing creatively means taking risks, creating tension. Publishing creatively requires the same things. Risks, imagination, persistence, curiosity, analysis and a willingness to be open-minded. Fun pursuits, but not always easy ones.

Ann E. Michael, Creative publishing

A stormy week here in the Sacramento Valley,
Rain on and off, on and off.
Above, in the high passes of the Sierra Nevada,
Deep drifts of snow. The bears are sleeping.
Down here, rain on the rooftop,
No finches, no crows, no owls.
And like them all, I am also laying low;
It has been days since I even went outside.
James says it doesn’t matter where you are,
It is what you do that counts.
So.. back to work on these poems.

James Lee Jobe, ‘A stormy week here in the Sacramento Valley’

All day long the air has been full of the promise of snow. It’s just twilight and it’s not here yet, but any time now.

I have hunkered down, slept, gone out for the groceries early in the morning, prayed, listened to an audiobook  (Over Sea, Under Stone  by Susan Cooper) and finally, finished a poem I’ve been struggling with.  I sent it, and five others, to the New Yorker just now.  Always hoping!

Anne Higgins, Waiting for Snow

It’s quite cold in Alaska right now. The kind of blue cracking cold that is beautiful but stinging. The kind of cold that makes iron of snow and ice beneath all. And yet, it’s important to get outside, to fill our eyes with sunlight, to remember that this time has beauty unavailable at other, perhaps more temperate, times of year.

Erin Coughlin Hallowell, Some winter solace

Every January there is a day when I first return to my desk after the hectic rush of December. My son is back in school. I’ve discharged my responsibilities to the community I serve, and today is a home-day. I resist the temptation to fritter it away on laundry and unloading the dishwasher — the little endless maintenance tasks of daily life.

The first thing is to clear the desk of extraneous things that have landed there during the annual hiatus from writing. I need a clear physical space to call forth the clear internal space within which poems can arise. Maybe classical music is called-for. Kronos Quartet’s Early Music has a spareness that matches my heart, matches the season.

Next I reread all of last year’s poems. It’s an annual ritual. Some of them are familiar to me: I remember writing them, revising them, I recognize them in all of their incarnations. Inevitably I find one I had forgotten altogether. I read the scraps and partial poems, too. I don’t know the shape of my next book of poems, but I get glimpses.

Then I open a blank file and let the words come. The first poem of this new year surprises me. When I started out I thought I knew where it might go, but it takes a turn midway through. When I reach the end I realize the poem was always intending to go there. I just had to open myself to surprise, letting it take me where I didn’t know I needed to go.

Rachel Barenblat, Where I needed to go

Poet Bloggers Revival Digest: Week 52

poet bloggers revival tour 2018

This is my final round-up of quotes + links from the 2018 Poet Bloggers Revival Tour, supplemented as always by some other poetry blogs from my feed reader. What a varied and interesting year it’s been! This digest has in most cases constituted Via Negativa’s only real contribution to the poetry blogging community—I tend to be too busy drafting new poems (and blogging most of them, it’s true) to also find the time to blog about poetry, and I don’t see that changing any time soon. But I don’t plan to stop doing a weekly digest… and fortunately, the proper poetry bloggers don’t show any sign of slowing down either.

Introducing the Poetry Blogging Network

Poetry Blogging Network

Kelli Russell Agodon, one of the co-founders of the Poet Bloggers Revival Tour, has just launched what I suspect might become a larger and more permanent version of it, the Poetry Blogging Network. Click through to sign up.

In addition to designing a nifty badge, Kelli has suggested a focus, envisioning “a group of poets who are dedicated to blogging about their poetry lives, the ups and down of being a writer in the world, along with what they are reading and writing.” She doesn’t say how often people ought to blog, but notes that she herself is “committed to blogging at least 2x a month (with my accountability buddy, Susan Rich, to keep me honest.)” Based on my own experience here at Via Negativa, I would add that getting a co-blogger is another good way to keep the blogging energy going.

Kelli has also volunteered to host the links list, with Valentine’s Day as a deadline for new additions, and I really hope that all the Blog Revival Tour regulars will re-up, and that other bloggers whom I’ve sort of unofficially added to the revival tour over the past year will take the opportunity to add their blog links to this list as well. Also, it would be great if the community were a little more diverse this year in terms of geography, ethnicity, sexuality and gender orientation, poetic style, etc., which might require some of us to make an extra effort to reach out to people who aren’t necessarily already within our cozy social media circles. If there’s one thing the poetry world doesn’t need, it’s more cliques, factions, and in-groups. Let’s build the most inclusive network we can! And also, let’s read and link to each other as often as possible. Please don’t let mine be the only regular digest.


Jesus never watched YouTube
or used glitter glue.
He didn’t dance the foxtrot
or even the hora.
He never rode a school bus
or sharpened a No. 2 pencil.

If he were here, he might marvel
at tweets from Lin-Manuel,
at the array of snack foods
in even the most basic 7-11.
But I think he’d be too busy
tenderly cradling the body

of the latest migrant child
to die in government custody,
overturning tables
in the halls of Congress,
searing the earth
with his tears.

Rachel Barenblat, Jesus never ate chocolate

For Noël, the French received a gift of unknowingness. It’s a lucky gift!  Les gilets jaunes have doled out confusion to their compatriots who are singularly sure of themselves, gifted in the pur et dur, the absolute.  Their clipped  “mais oui!” or “mais non!” has, until now, been singularly annoying.
In this new moment, when asked about politics, people pause, hesitate, search for words that are taking days and weeks to form. They glance out the window at the full moon, the crumbling cornices, the slate roofs. Roll over, Descartes! Perhaps there are no answers at all!

Yes, the conceptual ways of thinking are sinking under their own weight.  The good news is that the French have a great correction in their back pocket. Food, or exquisite attention to the everyday.  The marchés are cornucopias of oysters, escargots, fishes, feathered pheasants; they have a milky way of pungent cheese, chocolate and of course the faucets nearly run with wine. Celebrations aren’t just about consumption: they are happenings of community.   I also think of Francis Ponge’s poems about oysters and escargots.  When systems can’t be trusted, when they fail, go to what you can touch, taste, what is close to the heart. Don’t go to nihilism, go to regeneration.  It’s a chance to reimagine what society could be, to clear space for imagination and the beauty of what is.

Jill Pearlman, To France: The Gift of Not Knowing

On the back of #PoetBlogRevival, I started the year with good intentions: to blog weekly about the poetry life.  How hard could it be?  I stuck to my resolution for over six months, blogged sporadically over late summer and haven’t posted at all over the last three months.   So what? you might say.

There are many others with much more to say and whose literary achievements are worthy of note (check out, for instance, Matthew Stewart’s annual round-up of the best UK poetry blogs over on his blog, Rogue Strands).

I attended the Forward Prizes for Poetry in introvert mode.  Since then, I’ve more or less withdrawn from the poetry world ‘out there’.  I’ve begun to feel overwhelmed by e-newsletters, blog posts, web links to further reading and other such means of keeping abreast of poetry what’s news, hip and happenings. Much of it has gone unread.  I’m more behind than ever with my reading of the magazines I subscribe to. I’ve been less active on social media, too (no bad thing, that).

On the positive side, I’ve written twelve new poems on a theme, with others in the pipeline. And successes are up on last year…

Jayne Stanton, 2018: the long and the short of it

2018 has been my biggest year to date for videopoetry. I came to the genre by pure chance in the middle of 2014, after making short experimental and narrative films on and off for about 35 years. Videopoetry completely rejuvinated my film-making, returned my love of it to me at a time I felt it was all close to expiry. In the past four-and-a-half years, I have made over 60 short videos, more than the sum of my film-making over all previous decades. I am so grateful to have been welcomed by the international community of film-makers, poets, curators, editors and audiences that, like me, have come to love this unique genre. Grateful too for the captivating videos and poems by other artists that have inspired and influenced me over recent years.

Just a couple of weeks ago, I completed judging of the first Atticus Review Videopoem Contest, an event that will now be added to the international videopoetry calendar for future years. Atticus is an online poetry journal coming out of the USA with a large and wide readership. It is one of the few poetry publications worldwide to feature videopoetry as an ongoing feature. It was an honour to be invited by the editors (David Olimpio and Matt Mullins), to be part of kicking off this first year of the contest. I found great pleasure in watching, and sometimes re-watching, the 115 videos sent in to us. The quality was high. In fact, as a film-maker myself, the rich creativity of my peers was humbling, in a good way. And so it was a challenge to select only four awarded videos. These have already been publicly announced, and the videos themselves will be published in Atticus on 11 January. But all four videos are available for viewing now to intrepid explorers of the film-maker weblinks to be found on the awards announcement page.

In 2018 I have completed and publicly released 11 videos, along with a few others that, for various reasons, are currently only available for private viewing. Here are the latest three I have not yet discussed here on the blog…

Marie Craven, End of year 2018

Though not much in touch with popular amusements, I am touched by bemusement. I like to think of amusement as,  to be beguiled by the muse. And she is always here somewhere, waiting to distract me from ordinary thoughts in order to move me towards more ineffible states of being. 

Like the sensation I woke to this morning that tugs at me to write a poem with the word frottage in it.  I recall hearing this word from the lips of my first woman lover, perhaps I was dreaming of her? I now recall that it is an art technique, which also involves rubbing. The metaphors abound.

And regarding 2019: I want to start a new blog for reviewing poetry chapbooks. I’m trying to figure out where/how to do this so that it will get some visibility.  I’d also be happy to buy your chapbooks, and review them. Please send me links and any suggestions you might have for this project. And what to call it?

Risa Denenberg, Sunday Morning A/muse/ment

Part of the magic of this poem, for me, is the way it understands how children imagine, how they are formed by chance encounters and stories whose tellers never imagined the impact they might have, and how our childhood is carried in us, and how we can be startled back into it, and in some ways become as powerless as a child. The framing narrative is kept implicit..you used to say …. these stairs …everyone else…..your room.The detail is kept for the stories of each tread, the fabulous tales told to a child who will never forget them. And then there’s the power of the image of one rooted to the foot of a staircase and its narrowing closed off perspective. I love the way poem pivots on that one line .why did you never tell me?  In its control and contained love and grief it does everything I want in a poem. […]

So there we are. Thank you to all the cobweb guest poets of 2018. I hope you all have a happy and successful 2019.

Why not make a start by submitting your poems about food, or food related poems, or poems with taste and flavour and possibly a recipe for a better world to The Fenland Reed. It’s a handsome journal edited by lovely folk. Go on. You know you should. Here’s your link. https://www.thefenlandreed.co.uk/submissions

John Foggin, Best of 2018. November and December: Tom Weir and Christopher North

There was a time. One time. Sometimes I write depression. Disability? The literature of loss. Situational. There are situations: once, twice, a decade: daily there was beauty. Pain grinding me to bone. I could bear to look at my own hands as he saw them, you know. Also: how small I was when I was dying: how we all loved that. How we all loved me as superhero, triumphant. How once I told all my dreams. This morning the wind rocketed, screaming. A cobalt pre-dawn sky with half-moon and Venus. In sleep I’d walked-out: what that means so clear. But I can’t talk about it—see, time has changed. It’s not safe. Out loud. What you are can and will be used against you. Say: big cat padding through night has become herself an insult, or apology. Treading. Careful, water. Whole silences now. Which means, of course, I no longer know how to be beautiful: how did I do that, again? I can’t think. Up a fire tower, wind-quaked, I left my coat in the car. All drugs on board and hyperopic to farthest horizon. Everything close gone dark and blur, but vanishing point a fierce, bright clarity. How relieved I was, finally. Calm. Waking, there was only deafening wind. Memory of being. Beautiful. Of everything, aloud. How did this happen is the question of literature. How does a person come to this?

JJS, December 29, 2018: the question of literature

Merry 5th day of Christmas and Happy New Year, with some thoughts, hopes, and plans for the coming year…

  • Turn in two final book manuscripts.
  • Continue running the Christ Church Cooperstown women’s group another year–next up, a book discussion about the curious medieval document, The Cloude of Unknowyng. (Last year, there was one book event–Buechner’s Godric.) Figure out some more wild outings and events and workshops, often arts-related.
  • Send out at least one poetry manuscript.
  • Do some work for Fr. James Krueger’s meditation retreat Mons Nubifer Sanctus in Lake Delaware with my friend Laurie, now that we’re both on the board.
  • Read more. 2018 was a bad year for reading because I was stretched a bit too thin. I want to read more classical writers and also some of the early Christian mystical writers. More poetry and stories. And the stack of unread novels.
  • Make like a tree and put forth green leaves. Drink from deep sources.
  • Work on that odd idea for a new novel. Secret, of course.
    Improve my health to avoid losing months to illness…
  • Skip blurbing other people’s books for at least a year (because I couldn’t manage those commitments in 2018.) […]
Marly Youmans, At the threshold of years: a few resolutions

I still remember walking across campus with my friend Stephanie as she explained to me about this new idea in the tech world: Blogging. Why would anyone choose to write journal entries that would be shared with the world? It was like leaving your journal on the bus or better yet, giving a stranger specific access to your thoughts. What a weird idea, I thought; it will never catch on I told her.

And here I am in my ninth year of Blogging at Blog Post Number 1,000. How did that happen?

The truth is, I do remember why I started. I wanted the casual and low stakes world that blogging provides. As a poet, it’s too easy to fuss over each comma and semi-colon. I wanted to see what would happen if I published work that didn’t need to be polished to a high sheen. I also had a very practical reason: The Alchemist’s Kitchen, my third book was about to be published and I had no idea how to publicize it. Friends of mine, Kelli Russell Agodon and January O’Neil had been blogging for years and finding real connection with other poets through the process. I thought I’d give it a try. 

Blogging allowed me to connect with other poets and writers, many of us just becoming familiar with this thing called Publicity. We did virtual poetry tours interviewing each other when our books came out and sharing poems that we loved from dead mentor poets (Elizabeth Bishop, Denise Levertov) as well as from work just appearing in journals. We wrote articles on how to organize a poetry reading for optimum success and shared information on favorite writing retreats. In other words, we were creating a network of poets who were neither academics or poet rockstars — anyone with access to a laptop, with access to a library was invited to the party.

Susan Rich, PBN for Blog Post Number One Thousand – 1,000

I took part in the Great Poet Bloggers Revival, launched by Donna Vorreyer and Kelli Russell Agodon, which challenged poets to publish one new blog post per week in order to help everyone feel more engaged in the community.

This year, I managed to put together 63 blog posts — not all of these were put out weekly as intended and not all focused on poetry. But I’m feeling happy and confident about the amount of blogging I managed to do in 2018.

Out of all the blogging I’ve done in the past year, I am most proud of the eight poet spotlight interviews I’ve conducted. It’s such a pleasure to be a part of and learn from the poetry community — and since I’ve been lax on participating or attending readings and open mics, being able to still feel connected through these interviews has been wonderful.

Andrea Blythe, Building Poetry Community: My Blogging Year in Review

OMG, is it time for a Poetry Action Plan? Why, yes. Yes it is!

What, you may ask, is a Poetry Action Plan, or PAP? 

It is a road map for how to think about your writing life. I have created a plan for the past 11 years and it has served me well–even in the years when I didn’t think I needed a plan.

There are four steps to creating a PAP.
1.    Define your goals. What is most important to you as a writer?
2.    Be realistic about what can you achieve.
3.    Track your progress.
4.    Prepare for setbacks BUT be open to opportunities wherever they appear.

And if I had to add a fifth step, I’d say don’t be too hard on yourself for not accomplishing a goal.

As I have mentioned, Last year, after dealing with the death of my ex-husband at the end of 2016, I was just trying to stay above water. We were used to our little system of pick ups and drop offs. And while I never thought I had enough time, I really missed (and still miss), the balance of another parent, for everything from child care to having another voice in the room. But I managed, somehow, to get a few things done.

In 2019, I will:

  • Get ready to move to Mississippi! I had this as last on my list, but really, this is Job 1. The kids and I are moving this summer to Ole Miss for nine months. So all of my energy is going to making the transition as smooth as possible. *Gulp*
  • Write a poem a week. I didn’t write very much in 2018. It was painful not writing, but I just never found my groove. This is just a part in the evolution of my process, I tell myself as I wallow in a pool of self pity. But, it’s time to get back to basics.
  • Submit to eight top-tier journals. Believe it or not, I sent poems to three journals. Still waiting to hear back from two. I was asked to submit a few places. Admittedly, I regret not writing or sending out in 2018. Won’t make that mistake again.
  • Help Rewilding find the widest audience possible. See my last post.
  • Laugh more.
January Gill O’Neil, OMG, is it time for a Poetry Action Plan? Why, yes. Yes it is!

I keep saying I’m not going to try to finish my manuscript anytime soon—that I’m going to wait until I’m done having kids. But if you have ever finished a manuscript, maybe you can relate to the pull it has on you—I want it to be READ. I want it to be out in the world. And as much as I tell myself it isn’t the right time, I can’t promote it right now, I can’t spend money on contests or time on editing—here I am, printing off a paper copy to do the work of “ordering the storm”—rearranging the poems into a final arc—then the paper edits, poem cuts, poem additions….this isn’t at all when I intended to work on this manuscript, but I feel like my writing is stalled in a way, built up around this work that needs to be “birthed”—and as much as I hate the analogy of the book being “my baby”—no, not at all—I can relate it to that horrible waiting period, overdue, heavy with new life. It is a little bit like having a child that no one has met. At the same time, I want to do this right. I love my past publishers—they have been great to me—but I think that I need to win a contest to get the book any attention. I can’t manage five kids homeschooling and teaching online, plus book promotion to the scale that a small press would require. The goal is that I’d like my poems to be read by real live human beings. Now I need to just figure out the best way to make that happen.

Renee Emerson, Paper Edit

Sometimes the critique offered is not something I can figure out how to make my own, or how to grapple with it in the given poem. Especially if I’m unclear about the problem the critique suggestions are meant to solve, I can’t comfortably settle into the solution. I can try things but have no ability to gauge the success or failure of the attempt.

Or sometimes I understand and agree with the critique, but just can’t make the given poem hold up. When I turn one screw, the whole thing gees or haws to one side or another. The center cannot hold. (Maybe a revolution should be at hand…)

At any rate, receiving and using critique is very tricky. First, I have to have sufficient distance from the piece to be able to see it NOT through the rose-colored-glasses of first-love and also NOT through the who-wrote-THIS-hopeless-piece-of-crap smeared window. I gotta be cool, man, real cool.

Then I have to be willing to play around, try anything, mess things up, break things open, dismantle and remantle. That can be hard. know what I wanted the poem to do. Sometimes a critique wants to take the poem in a different direction. It can be very hard, sometimes impossible, to allow that process. That doesn’t mean the critique isn’t right on; it just means that I don’t have enough distance yet, or as a writer I’m not yet skilled enough to figure out how to follow through, or I just don’t want to go in that direction, for whatever misguided (or guided) reasons.

Sometimes a critique is off base. Sometimes a critique is not well grounded itself. You have to be open enough to both consider a critique, and to discard it. That takes a level of self-confidence that to some borders on hubris. Own it. You might be wrong in the long run, but at least you can be honest about the fact you considered an idea but then turned it away.

As I’ve noted before in this space, one of the most important editing tools is time. Sometimes I just have to put it all away, poem and critique and notes and versions. Move on, at least for the moment.

Marilyn McCabe, Abandon Hope; or, Grappling with Critique

Neither starshine nor moonlight.
Instead, snow shine wraps me
in diamond dust at midnight’s hour.

Clouds cling to the earth, yet
a thousand celestial luminaria
light this solstice night. In the yard

a host of snow angels pressed
everywhere. No sounds, no footfalls.
No crinkle of crenelated wings.

Bonnie Larson Staiger, Solstice: Seraphim in Snow

Everything is red this morning – the soil, the river, and water draining my throat –
bloody like the spout from the hawk’s neck.

Stars wheel though darkness as in creation-time nameless but with the identity
of my dead mother.

Where are the homes of birds, food for the bees, the sun whose rays must penetrate
the graves of my people?

Uma Gowrishankar, A Tale From The Forgotten Land – II

I do hope that this machine lasts longer, but I also know that five years seems to be the life of many a major appliance these days. 

I think of my grandmother who had a washing machine on a porch that had no room and no electric for a dryer.  She took the wet clothes to the clothesline at the back of the yard every week of her life until her heart attack prompted the major life change of moving to an assisted living facility.  Her heart attack happened as she was hanging clothes on the line.  She collapsed and stayed there, under the clothesline, under a hot August sun, until her neighbors checked on her late in the evening after she didn’t answer the phone.

It was not the first time I realized that my family is made of pretty stern stuff.  On days when I feel disheartened or discouraged, I think about my ancestors, and I find the courage to keep going.

I also realize that almost everything I face is nothing compared to what they went through.  A washing machine that goes wonky?  Kitchen cabinets that are delayed?  I can hear the ancestors snorting at the thought that I have troubles.

It’s been a good morning.  I’ve read some poetry; the new collections by Terrance Hayes and Kevin Young are amazing.  I wrote a poem that’s nowhere close to what they’ve done, but writing is the winning of the battle.  I’ve got a load of sheets in the dryer.  I’m happy that yesterday gave us an appointment for the delivery of the cabinets:  Feb. 4–hurrah!

And now off to take care of my physical body–spin class calls!

Kristin Berkey-Abbott, The Sounds of Washing

This Christmas has mostly been about recovering from minor arthroscopic surgery to correct a torn meniscus in my left knee.  My stitches came out on 19 December and I had hoped to do a lot of writing because, coincidentally, my husband and two grown-up children have been visiting a close family friend in Australia for two weeks so I’ve had the house to myself.  The truth is, not a lot of writing has been done and  I’ve missed my noisy, demanding, distracting, annoying but totally fantastic family very very much –  far more than I thought I would – and they’re not back until January 4!

But I have established a kind of routine, including exercising to increase and improve my mobility post-op, and I have completed some boring but necessary jobs that I’ve been putting off for far too long.  These include donating old poetry magazines to charity shops, reshelving poetry books that have been piled on the floor and making room for my own books by putting some of the children’s books into storage.  I know, exciting stuff.

Exercising on a new static bike – a present from husband, Andrew –  has been a wonderful opportunity to listen to the radio.  In fact, rediscovering the vast catalogue of dramas and dramatisations available on BBC Radio 4 and Radio 4Extra (via the BBC Radio iPlayer app which I connect to my Bluetooth speaker)  has been one of the key pleasures of my holiday.  Cycling away on my bike, I’ve listened to and enjoyed dramatisations of Daniel Deronda by George Eliot,  Rebecca by Daphne du Maurier and ghost stories by M R James.  I’m now listening to readings of Sylvia Plath’s Letters.  I can’t help but feel inspired by her energy, her hard work, her ambitions, her hopefulness, even knowing how badly everything turned out in the end for her.

Josephine Corcoran, Christmas Retreat

Glass: A Journal of Poetry has released its annual list of recommended reading in poetry. I keep a list, too, of favorite poems throughout the year so I thought I’d share a few with y’all. These are in no particular order and are not all of the poetry I’ve saved over the past year. But, these are definitely stellar poems in some of my favorite journals. I hope you’ll click through and read them.
Louisiana Requiem by Heather Treseler in Frontier Poetry.
Hurricane, 3rd Day by Melissa Studdard in New Ohio Review.
The Peaches by Jericho Brown in The Adroit Journal.
Eve in the Blood by M. Stone in Avatar Review.
Finishing School by Emma Bolden in Black Warrior Review.
Spectacle by Lindsay Illich in Foundry.
Visitation by Marissa Glover in Barren Magazine.
Upon the Blue Nile by Bola Opaleke in the Pangolin Review.
Voucher by Jack Bedell in Ucity Review.
Europa by Echo Wren in Rattle.
Fish Love by Bryanna Licciardi in The Mantle.
Anniversary Poem by Michael Maul in Dodging the Rain.

Charlotte Hamrick, A Few of My Favorite Poems 2018

It’s almost 2019, and if you’re like me (or January O’Neil, who has a cool “poetry action plan,” you start thinking about your intentions for the year ahead – what you hope for, what you can plan for, what you are envisioning. This year’s Vision Board had a lot of animals in it, and more words about inspiration and creativity. I realized the last two years had been all about survival – first the liver tumors and the cancer diagnosis, then the surprise of neurological symptoms and the MS diagnosis. I’m hoping this coming year to be fewer doctor appointments, more wonder – less about survival, more about creating and befriending and embracing the world.

From the AWP conference in March in Portland to sending out two poetry manuscripts – one about the journey of the last two years and one about the history of women and witchcraft, which I was just shuffling through last night to think about organization and which poems to leave out and which to add. I’m going to get more serious about sending out both – I only sent out book manuscripts four times last year, but I sent out over 150 submissions (!!) total, including fiction and essay attempts, and published about fifty poems, which seems like an okay ratio, but I had no idea I had submitted so much.

Other life goals include cultivating more friendships and socializing a little more, paying more attention to my body and treating it like something to take care of and not push, and spending some time (!!) meditating or doing something restful and creative every day, maybe even just five minutes of art or writing before bed. Also, trying to value my time more. One of the things about getting serious diagnoses is that it makes you re-think what you spend your time and energy on. What are the essential things for living for you? Spending time outside, reading good things, and time consciously building a life – whether that’s balance or motor-skill exercises, or reaching out to a new friend, or time spent noticing the new flowers in your garden to the kind of moon that rises. Or the visitors to your neighborhood – the day after Christmas, this bobcat visited our street!

Jeannine Hall Gailey, Two End of the Year Poems in ACM, and Dreams, Goals, and Inspirations for 2019

Happy New Year and big thanks to such an incredible online community of poets, writers, and supporters! I started actively posting and promoting this poetry blog in October 2014, and have seen a constant increase in traffic, likes, and followers. I’ve met some amazing and talented people along the way.

My blog really started out as an experiment, to just share the things I’ve learned in the last year or so as I began actively submitted my poems and other writing to different markets. It does seem there is a need for clear, concise, and quick ways to stay updated on calls for submissions, contests, writing tips, especially those with a focus on poetry. I’d love to hear from my readers if they have suggestions for information I can share or other resources they find helpful in their quest to publish poetry.

Trish Hopkinson, Happy New Year and Thank You! – My submission & blog stats, 250K+ views in 2018!

I love hearing about people’s favorite books, and regularly shop and read from lists published everywhere every December. I’ve even written a short discussion of my favorite genre books in 2018, to appear in Strange Horizons’ annual roundup a few days from now.

But I’m skeptical of these lists, too: “best” for whom, when, and why? For what purpose? I’ve found no single critic out there who shares all of my own tastes and obsessions, even though I’m part of a demographic heavily represented in literary journalism. What makes a book powerful is partly latent in the text, but is also contingent on circumstances. Even for one reader, the stories or voices that feel most necessary can vary from day to day. There’s no value-neutral, objective “best” out there.

I can certainly name the poetry books that most wowed me this fall, that I kept wanting to share: If They Come For Us by Fatimah Asghar, American Sonnets for My Past and Future Assassins by Terrance Hayes, and, a little belatedly, Barbie Chang by Victoria Chang. Does that make them the best? It means they’re really good, for sure.

But I also bought poetry books for friends, marking a few poems for each that I thought would especially appeal. Asghar and Chang were on that list, but so was Ada Limón’s The Carrying, which I also remembered loving–and as I reread it, the book gained even more force. Some books grow over time. Does that make Limón’s book the best, even if a December reviewer barely has enough perspective to see it? Daylily Called It a Dangerous Moment by Alessandra Lynch worked like that for me, earlier this year. On first encounter, I felt frustrated by how the poems skirted the central subject–rape–but the successive readings you have to do for a reviewing assignment changed my reaction to profound admiration. And while I just read Patricia Smith’s Incendiary Art, I can say it’s almost unbearably powerful, and maybe you should read it wearing oven mitts–where does THAT criterion go in the rankings? Really, I liked or loved almost all of the poetry collections I read in 2019 (listed below, excluding things I didn’t like enough to finish)–but I have no idea which will mean most to me five years from now.

Lesley Wheeler, Best for what?–reading 2018

Just when you think your work
is done, Coyote says
we haven’t even begun.

Tom Montag, from The Wishin’ Jupiter Poems: Just When

Poet Bloggers Revival Digest: Week 50

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.

Many poetry blogs are falling silent—’tis the season—but a surprising number of new posts have appeared in my feed reader this week regardless. If they have anything in common, it’s a more contemplative tone. As if the long nights are leading many of us to turn inward. Or maybe it’s just an end-of-year, taking-stock kind of thing.

Speaking of taking stock, whither the revival tour in 2019? This digest will probably continue in some form regardless, but I’m wondering how people who revived their blogging practice this year feel about it? Now that the old band has completed one more tour, is it time to  throw in the towel?

Whenever I’m writing I’m also fully, hyper-aware that there are other responsibilities I’m ignoring; at these points, I try to remember all of those interviews with writers and artists I’ve read (and taught!) that stress the necessity of making your writing time “intractable and nonnegotiable.” 

This semester, I’ve been MUCH better about keeping writing time sacred, but once again everything fell apart at the end of the term, from writing to exercising to eating well to getting enough sleep.

One more week, tho. And then final grades in, and then holidays and some travel to Virginia, and then maybe, maybe, writing and running and rest. Maybe.

And on a last note: This is my three hundredth post for this blog . . . since. . .  2011? I’ll have to fact check that. Anyway. I don’t know what that means. I whine at the internet a lot, I suppose. Thanks for absorbing my panic and myopia, Interwebs! Yer the best!

Sarah Kain Gutowski, Mother of the Year, Teacher of the Year, and Other Awards I’m Not Earning

Yesterday we had quite an adventure! We had been planning to go to Copper Canyon‘s Holiday party and book release for Ursula Le Guin’s final poetry collection. But an hour before we planned to leave, I started hearing branches hitting the window, and the power went out. Then we had to eat dinner without power or light (hard), dress (harder), and do makeup (hardest by far), which was exciting. The Hugo House still had power (although I heard later 100,000 people ended up losing power throughout the area) so we set out in our car with branches and even whole trees down on both sides of us, wind whipping our car around on the Floating Bridge, and when we got there, I could barely stand up against the wind, let alone walk! […]

The readers did a wonderful job with their tribute to Ursula, including Karen FinneyfrockJane Wong, and fellow Two Sylvias author Lena Khalaf Tuffaha. One person talked about a memorial where Margaret Atwood said Ursula had “the best dragons in fiction” and Jane Wong talked about feeding our inner dragons lettuce, which was such a wonderful image.

People who deny the existence of dragons are often eaten by dragons. From within.
― Ursula K. Le Guin, The Wave in the Mind: Talks and Essays on the Writer, the Reader and the Imagination

I was very moved, and remembered the gigantic windstorm that hit the night about ten years ago that I heard Ursula read poetry on the Oregon Coast and talk about science fiction poetry years ago in Oregon. She insisted women science fiction writers should not be placed in a literary ghetto, that speculative poetry should not be considered non-literary, and that poetry should not be ignored and women should not be ignored – she was very feisty! And there was a giant wall of glass facing the outdoors, and it kept banging with thunder and wind, but it seemed to accompany her, not compete. She was a force of nature that deserved the tribute of the storm.

Jeannine Hall Gailey, Poetry Parties, Windstorms and Power Outages, and Ursula Le Guin’s Dragons

There are rumors of big cats. I’ve seen two elk—
one stared through me as if she knew my secrets, the other,
roadkill. You once told me my poems are too grim

and I should try my hand at something more pastoral.
I’ve seen powdered snow on Cedars, and I’ve grown
passably fond of rain. Everyday, the clouds amaze.

Risa Denenberg, Sunday Morning Muse with Powers that Be

Two years ago, I wrote a post overflowing with admiration for a January Gill O’Neil poem and then added a prompt to go with it on this site.  What unmitigated joy to see this same poem in the brand new pages of Rewilding, just out from Cavaan Kerry Press.

If Sharon Olds and Robert Hayden had a love child, I think it would be January O’Neil. She employs the smooth, shiny surface of a Sharon Olds poem with the more emotionally nuanced and extended outlook of poet Robert Hayden (think “Water Lillies” and “Those Winter Sundays”). [Click through to read two poems from the book.]

Susan Rich, Best Holiday Present for Poets: Rewilding by January Gill O’Neil

As writers, we put a lot of focus on producing – writing poems or prose pieces, editing, editing again, editing one more time (at least), then getting those polished pieces out the door and hopefully published. Of course, the point of all that work is to share. And in a world where we can post links to thousands of others via social media, we certainly hope that we are sharing, but it’s hard to know how many people are really reading. If they are reading, are they delving into the piece, sitting with it? Or is the writing just getting a cursory glance on the way to work/school/daycare pickup/grocery shopping, etc.?

Given all that, what a pleasure to take an evening and do with poems what we are meant to do – enjoy them. Everyone around the table loved writing, and found profound emotional connections in certain pieces. So, for the price of admission (which was nothing! you can sit around a table with your friends absolutely for free!) we got a curated reading. We shared some of our own pieces, and we shared the pieces that keep us inspired. Amazing poetry and CNF, chosen by writers forwriters. Adrian Bleins, Maggie Deets, Jill McDonough, Ross Gay, Diane Seuss, Hayden Carruth, Jack Gilbert, J. Robert Lennon, Ted Kooser. Every piece made your breath catch in your throat. Every piece made you want more.

So let’s bring back the salon. Get some friends together. Have coffee, tea, an adult beverage if you like. Ask everyone to bring a few pieces of writing that just knock their proverbial socks off, and read to each other.

Bring Back the Salon – guest blog post by Sonja Johanson (Trish Hopkinson’s blog)

I have been looking for a poem to read at the memorial of the young man who died recently. Death is supposed to be the subject matter best suited to poets, and the obvious purview of poetry, but after perusing many poems on the topic, I’m now convinced that most poets don’t know how to write about it very effectively. We are good at writing about our personal pain and our own cynicism and our clever detachment from both, but as a group, I’m not convinced that we have much of a grip on the topic of death. The two groups of poets who I find write about death the most effectively and clear-headedly are physicians and war veterans, and I don’t know of many who are poets. I wish that more doctors and vets wrote poetry, but alas, that is not the case, and I think that’s a huge loss. Their insights count at least as much as English majors with pricey MFA’s. We need to design poetry workshops specifically for docs and vets. I’m fully up to spearhead this. Who’s with me??

Kristen McHenry, The Problem with Poetry, Get After It, Bad Cat Redux

I have been making my way slowly through Christian Wiman’s My Bright Abyss: Meditation of a Modern Believer. Slowly because it is tough stuff, both the — what should I call it? theology? the study of his own faith/God/self-in-God?, and the intensity of it: a dying man sending dispatches from the edge.

Diagnosed with a rare and fitful disease, Wiman has been dragging himself through years of treatment sometimes as ravaging as the disease, approaching death only to have death pull away, only to catch up to it again, like some long drag race in the desert. Throughout much of it he has been trying to make sense of his call toward God or Christ or some ineffable -ness that is not captured by the wan word “religion,” with its weight of institutions and hierarchies.

Marilyn McCabe, Postcards from the Edge; or, On Reading Wiman’s My Bright Abyss

My first podcast interview at New Books in Poetry is live! I had a lovely conversation with Emily Jungmin Yoon regarding her  first full-length collection, A Cruelty Special to Our Species (Ecco Books, 2018), which examines forms of violence against women. At its core these poems delve into the lives of Korean comfort women of the 1930s and 40s, reflecting on not only the history of sexual slavery, but also considering its ongoing impact. Her poems beautifully lift the voices of these women, helping to make them heard and remembered — while also providing insight into current events, environmentalism, and her own personal experiences as a woman in the world.

I loved this collection of poetry, which was so moving in how it addressed intense subject matters. Her words are lyrical, vivid, and enriched with a playful examination of language, the way mean slips depending on perspective and how language can be a powerful tool. These poems help to give voice to women whose stories are not commonly told. It’s beautifully done.

Andrea Blythe, New Books in Poetry: A Cruelty Special to Our Species by Emily Jungmin Yoon

My friends liked me because I listened to them. One of them referred to me as her psychologist. Through these young women, I learned about love, lust, yearning, sex, educational aspirations, the behaviors of men, family stresses, jobs, career hopes, personal values, fears, thrills, recreational drugs, alcohol, birth control, popular music, dancing, concert-going, lies, mistakes, and heartbreak. The only thing I can think of that has taught me as much is the reading of books, particularly poems, novels, and memoirs.

Years later, I asked my parents whether they ever felt concerned about my choice of friends. Did they ever worry that these young people were somehow bad influences on me? My dad paused a moment, thoughtful, and answered, “I don’t think we ever worried about your friends being bad influences on you. I kind of thought you were maybe a good influence on them.” I’m not sure that’s accurate; but looking back, perhaps my parents, or my family, presented a positive “model” for my friends who endured much more challenging home lives and had less support for education, career, and independent futures. And most of them have grown up to have successful lives–but that’s not because of me.

Four or five years ago I found myself reminiscing through writing poems; it was quite accidental on my part, and initially just a response to a Bruce Springsteen song. Influences: popular song, teen friends, the suburban environment of my youth. I ended up with at least 40 poems, of which there may be enough good ones to make up a chapbook collection someday. [In 2014, I blogged a bit about the project here.] I call them my Barefoot Girls poems. They provide, I suppose, one aspect to answering the question posed in my last blog. My friends’ experiences, flowing through me.

Ann E. Michael, More on influences

Travel completely engages me when I’m there, and then feels almost unreal when return to my own space. And yet, flight makes those sudden shifts in reality possible. I wouldn’t call it disorienting, per se, but it is certainly strange to find yourself inhabiting an image like the one above, that you’ve seen in countless sources, from textbooks to travel videos. We don’t go on tours but figure out our itinerary and plans completely from scratch, and unexpected things happen, so during the trips we always feel like we’re very heads-up, paying sharp attention; there’s a high level of intensity. I try hard to really be in a place — to feel it and engage with it with all my senses as well as my mind — and not just be a person behind a camera, capturing moments like trophies. It takes time to think about a significant journey and to see what I’ve learned and how it has changed me; I’m doing that now and will be doing it for quite a long time. And I already want to go back. There were good reasons why, as a young girl, Greece got under my skin. I see that better now, and am glad I wasn’t disappointed by being face to face with the real thing. Yet I also see that I made the right decision to live a less linear and more personally creative life; it was a better fit with who I really am, but in many ways, it has been a reflection of the values and ideals that attracted me to the Greeks in the first place. As a woman, I’m lucky I live now, though, instead of back then.

Beth Adams, Home from a Journey

My twenties were fine, full of a lot of learning experiences, including quitting college to follow a boy to the Caribbean, buying a home at the top of the market, right before the bottom fell away, and a short-lived, ill-fated marriage. With a bit of serendipity, I got out of the house (at a huge loss but ce la vie) and my divorce was finalized a month before I turned thirty which meant I started my thirties as a whole different person. And my thirties have been great, I really felt like I became the person I was supposed to be and I checked off a bunch of milestones too – I found a career I liked, was good at, and started getting paid well for doing it. I bought a condo and when I sold it five years later, it wasn’t at a loss. I started taking my writing seriously and published two chapbooks and applied to an MFA program. I traveled to places I’d always dreamed of visiting. I found a partner and we married. We bought a house and two cars. I’m in a great book club, I have a great group of friends. In short, my thirties have turned me into a bonafide adult. So if my thirties have been so great, why do I feel so strange about entering my forties?

Courtney LeBlanc, Aging

Because it was an early night, I got up in the wee, small hours of the morning.  I’ve been reading a variety of interesting things, working on a poem that weaves together the cracking of the older Arctic ice and home repairs/grading/writing, putting together a poem submission for the Tampa Review–in other words, the kind of morning I like best.

I loved this piece at the On Being blog.  It’s full of wisdom and ideas for writing and heartbreaking observations.  This bit led to some interesting research on both Wittgenstein and Spinoza:  “For a time, I required my students to write a Wittgensteinian essay: Start with one idea. Notice where it goes. Number each idea. Keep them short. Don’t worry if you hop around. Read and play with what emerges. It may take a while to understand what you are trying to say. To yourself.”

He also makes lots of spiritual connections:  “I discovered that the Desert Fathers and other ascetics employed this approach. They sought a way to move from contemplative sense to paper. Sometimes they called what they wrote a century: 100 pieces of heart-sourced inklings. Heart to hand to ink. Follow what comes. Only the numbers seem orderly. Like prayer.”

I am interested in the composition of these short pieces.  I also stumbled across this site which talks about the writing practice of William Stafford.  He, too, began his writing day by writing a short observation:  “Some prose notes from a recent experience, a few sentences about a recent connection with friends, an account of a dream. This short passage of ‘throwaway’ writing, it turns out, is very important, as it keeps the pen moving and gets the mind sniffing along through ‘ordinary’ experience. You are beginning the act of writing without needing to write anything profound. No struggle, no effort, no heroic reach. Just writing.”

This morning, I also went outside in hopes of catching a glimpse of a meteor in these waning days of the Geminid meteor shower.  No luck.  I stood on the sidewalk, looking up and looking at the 3 small trees that lit up my front windowsill.

Kristin Berkey-Abbott, Wittgensteinian Wanderings

Maybe I need to blog about poetic self-doubt more often. As soon as I did, my luck seemed to shift under my feet. I had been doing math some of you have surely done, too: I’ve been showing the ms around for a while now. What if this poetry collection I thought was so great doesn’t strike any editors the same way? The poems have done well in magazines, but what would I do with the larger structure, with its support beams and fancy finials, if no press wanted I genuinely wanted to work with returned my affections? Keep trying while I write another one, I realized.

I don’t feel that way about literary criticism; blogging about poetry is fun and I care very much about boosting the poetry that inspires me, but there’s no way I’d keep writing footnoted articles if no one wanted to publish them. I’ll write the best poetry I can for as long as I can, however. It’s work I love desperately. Returning to it after occasional absences, with renewed interest, joy, and creative ambition–that’s been one of the deepest rhythms of my adult life.

Then a piece of fan mail popped up from Molly Sutton Kiefer at Tinderbox Editions, to whom I sent the ms a year ago. Submittable still said “In Progress” but I figured she’d given it a pass. Au contraire. She loved the book. Was it still available?

Lesley Wheeler, Pleased as punch (with recipe)

Q~Your partner is also a writer. What’s that like?

A~Mostly, it’s good! Chris is a scholar of comics who has started working in visual modes, so he and I started collaborating this year. Our first poetry comic was just accepted by Split Lip Magazine, and that’s giving me delusions of hipsterism. It’s called “Made for Each Other,” which sounds romantic, but it’s about ambivalent, aging, gender-ambiguous robots, so it addresses marriage from a pretty strange slant. He’s also my first reader and a very helpful one. One tougher aspect of two writers making a life together: it was hard for two desperate writers to negotiate time when the kids were little. And now that our youngest is about to fly the coop, I’m worried that he and I will have to work hard NOT to work hard all the time, just out of sadness and confusion. We were so time-starved for so long.

Belief / an interview with poet Lesley Wheeler (Bekah Steimel’s blog)

Poet Bloggers Revival Digest: Week 49

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. (Note that I’ve just corrected the numbering of the weeks going back to early September, when I began miscounting. Sheesh.)

A somewhat shorter digest than usual this week, as the end of the semester looms and the holiday season gathers steam, but those bloggers who are finding the time to post seem to be in an especially lyrical mood, as you’ll see. On a geekier note, Friday saw the release of a major new version of WordPress (for self-hosted sites; not sure when it rolls out at WordPress.com) with a completely redesigned post editor and site builder called Gutenberg. Of interest to poets: one of the basic tools they include is a Verse block, as an alternative to the standard prose paragraph. It wraps everything in Pre tags so that all formatting, including intraline spaces, will be preserved exactly as you type it. And there’s a style definition so that one can easily specify a preferred font, font size, line height, etc. using CSS in the customizer. Anyway, if that’s all a little over your head, don’t worry about it. The main point is that the WordPress lead developers are looking out for us poets. Which makes sense, because the WordPress motto has always been “Code is poetry.” Now at long last, poetry has its own code.

One of them keeps sticking a stray beach ball from god knows where down her shirt to make a mono-boob, or up her shirt to make a nine-months-blown. Another keeps collapsing into howling giggles, falling out of her chair. I’m giving them words: poema, poeisis, onomatopoeia: the creation, the act of creation, the summoning of a thing by its name.

I call her name, the collapsed one, and say, in the midst of trying to define the etymologic relationship between psyche and breath, inspiration and the necessity of oxygen for life, I don’t even know what’s going on with you right now, and laughing a little, I hold out my hand to the one fooling around with the beach ball—give it up, here. I take it when she passes it, put it on the desk behind me. She says: we made you laugh, though, didn’t we, and I nod. You always look so sad.

Gut punch, her notice.

I take the etymology lesson and wrap it around some fairy tales, then ask them to write: inhabit someone, I say. A character, maybe minor. Write in their voice. Summon them into being. Make of their voice a creation: their story, from their point of view. Make us understand.

What are you going to write, one asks. I share some ways I have answered this particular prompt in the past, and get them started.

Their pencils stutter, then stroll, then gallop.

I do not say

I will write the voice of a frozen river, black
under feet of ice; I will envy that ice, forming
into carillon bridges, islands and trunks; the voice
of a woman under ice screaming the last air
from frozen lungs, each bubble become an ice bell
someone stops by the side of the road to photograph.
JJS, December 9, 2018: ice bells

*

When I read a wonderful poem, I do feel the piece has exerted its power, that language, words, imagery have the strength to sway my emotional field. After reading an entire collection by a good writer, I sense a resonance–intuitive, unsettling. Sometimes, the work evokes in me a desire to do what that writer has done. That’s one type of influence. The list of such writers would be lengthy indeed.

~~

Other influences, though–amazing works of art, thrilling architecture, deeply moving music or dance–I could not exempt those as streaming into my consciousness, awakening me to something new. Or human beings, especially those I love best.

And places. Environment matters to my poetry. In the city, I wrote city poems. In the country, I write country poems. After I’ve traveled somewhere new to me, I conjure the place in my mind and it exerts its own kind of power on me.

Influences, in my writing life, are generally bound to experiences; I’m not a very imaginative writer. “A change in the weather is sufficient for us to create the world and ourselves anew,” wrote Proust. I am not contradicting myself in this paragraph. But I think I will have more to say on this topic soon, once I mull it over a little longer.
Ann E. Michael, Influences, personal & poetic

*

Q~Your contributions helping other poets through your blog and social media were part of the inspiration for this interview series. What made you decide to do this work?

A~I’m so thrilled to hear that my blog helped to inspire your interview series! My blog really has been a happy accident. I originally created the site just as a place to post poems for others to read when asked about my work. As I started submitting and looking for writing resources online, I found that my blog was a good place to save them. Then I shared one of my posts in a Facebook group and received such positive response, I decided to keep sharing. I also noticed that in the writing community some writers are competitive—they don’t want to share opportunities for fear that someone else will be published or win the contest instead. It seems to me that poetry just does not get enough attention in general, and the more I can share, the numbers of poetry readers might just grow, which means a larger market for my work while supporting other poets along the way. I kept trying new things based on my own research, like lit mag submission calls, then interviews with editors, guest blog posts, etc. and continued to get more followers and great feedback. I’ve learned so much along the way and I’m still learning every day.

Q~How do you balance your time between your own writing, the work you do to help other writers and your life outside of writing?

A~This is a great question. I do have a lot of poetry projects going on, locally with my poetry group Rock Canyon Poets, Provo Poetry poemball machines, Poetry Happens (a monthly radio feature of poetry events in Utah), an annual community writing workshop, two annual anthologies, festivals, readings, open mics, the list goes on and on. And, of course, a full-time career in software product management, my blog, and my own writing. It’s a delicate balance to be sure. Ultimately, all the work I do for poetry feeds and supports my own writing practice as well. I’m continually learning, finding inspiration, and growing as a writer. Timewise, I focus a lot on efficiency, large blocks of time to work on specific projects or to write, so I’m not stopping and starting too often. And, I have a very patient husband and family, who let me spend hours in my office uninterrupted. They know how important poetry is to me and have been an amazing support system. I often combine poetry activities with other things—like weekend trips, family time, dinner before or after an event, etc.
Resurrection Party / an interview with poet Trish Hopkinson (Bekah Steimel’s blog)

*

–“I have a uterus with puppies in it”: you can either file this under comments one usually doesn’t hear in the halls of academe as I did this week–or you could use it as a line of a poem–or you could create an interesting short story. And for those of you who are wondering, we have a Vet Tech dep’t, and I overheard one of the faculty members discussing visual aids that she has to show students.

–I posted this haiku-esque creation on Facebook, but I want to keep it in a place where it will be easier to find:

Write me from the camps.
Be my Dietrich Bonhoeffer.
Teach me how to live.

–I am still enjoying my online journaling class immensely. It’s interesting to see how our sketches are informing all of the future sketches–and also interesting to see how I have begun to recognize each person’s individual style.

–Here’s one of my favorite quotes from this week of the journaling class. It didn’t come from the book we’re reading together, but I might not have noticed the Rumi quote if my classmates hadn’t been quoting Rumi. I found it in Anne Lamott’s “Small Victories: Spotting Improbable Moments of Grace”: “Where there is ruin, there is hope for treasure.”
Kristin Berkey-Abbott, Saturday Snippets: Fetal Puppies and Other Vagaries

*

Intentions: Double my submissions next year.

Should I pay more in entry fees? I don’t think so. This amount [$350] made me gulp, but it supports a variety of publishers I want to support, and that feels supportive of my work, whether it got accepted or not.

Is it all worth it? Can’t I just be content making work?
No. I want it out there. I want it read or viewed. I want it appreciated. Or criticized, or whatever.

Yeah, I know, friends, that I get down at the mouth throughout the year. But I also feel buoyed sometimes, amused often, engaged in my work, and hopeful. Do I fail to mention that? Remind me to mention that.

I sometimes get the sense from people that they think I should be content just making the work, that there’s some kind of purity in that. That the search for publication success is somehow a sullied enterprise. Egotistical, perhaps. Or at best, a fool’s errand.
I say, it’s part of the artistic process — do the work, put it out into the world, take your shots and huzzahs as they come. Complain bitterly along the way; dance foolishly around with glee. It’s all part of the equation.
Marilyn McCabe, An Accounting; or, Writing Submissions by the Numbers

*

I was reading The Fish the other day, the classic anthologized Elizabeth Bishop poem, and it is just so good. And I read Crossing the Water by Sylvia Plath (the book before Ariel–I like this one better for some reason, though its considered transitional), and it is so very good. Listening to the Daily Poem podcast, they played Mending Wall by Robert Frost — as anthologized and read and reread as it is, it is so good and worth reading and rereading. I want to write poetry like that! Like Robert Lowell and Louise Gluck, Elizabeth Bishop and Emily Dickinson.

I don’t want to be famous–I don’t even care if I write these poems and only my family reads them. But I want to be able to write. those. poems.

How do I get there? Chances are, my talent has taken me about as far as it goes and I’ll only get better in little increments, never reaching the lofty heights of a truly great poet like the ones I so very much wish I could write like.

But maybe that is ok, and that is what drives me to keep writing–the tension between what I can create and what I envision creating.
Renee Emerson, Mediocrity

*

Funny how I got here. I woke up thinking about the earthquake that just hit Anchorage Alaska, which was a 7 magnitude with all-day aftershocks and how quickly these life-threatening events dissipate on the news “cycle”. Amazingly there were no deaths reported and no tsunami. I was also thinking about how magnitude is reported in logs. I’ve felt a couple of distant 4-5 magnitude quakes; a 7 magnitude is 100 times stronger than a 5; and a 9 would be 10,000 times stronger. Although I’m not sure that magnitude equals strength exactly, so I’ll just think : ten thousand times worse.

But there is still poetry. For now.

Here’s a poem about rain:

Rain

Most days, I no longer long
for you. The rain has become
my welcome mat.

I soak clothes and skin in it,
bleach these personal stains,
staunch my body’s needs.

I dream in haiku
as it taps at my window
in tart syllables.

Nowhere is it fully documented
how terrifying it is to be me.

Risa Denenberg, Sunday Morning Muse in the Rain

*

In response to a challenge at Ekphrastic Review. Here are all the poems generated by this photo of a Colombian Breastplate. Thanks, Lorette, for including my poem with the others!

A golden, first century breastplate —
mythic protection in battle. Mortals
have sought aegis from the gods
since time began, it seems.

When my youngest was three,
he wore an Incredible Hulk T-shirt
every day for a year, certain his kinship
with the angry green goliath
could transmogrify a toddler
to a Titan older kids would fear.

I hope the Columbian warrior
with a flying deity on his chest
found more success than my guileless,
doomed boy, whose brother and sister
held him down and made him smell
the lint in their belly buttons.

Sarah Russell, Birdman, Colombian

*

I’m so grateful of the reading and work that went into this in depth and thoughtful review of my chapbook Footnote by Deborah Hauser published by Stirring, one of the oldest continuously publishing journals on the internet. And they are always open for submissions of poetry, fiction, and creative nonfiction. A link to their submission guidelines is below.

Hauser’s careful reading and insight captured so much of what I was after in this collection of poems. She gives thoughtful descriptions and commentary on several of the poems along with samples. I couldn’t be more honored by the time she spent with my work and in writing this review! Here’s the first paragraph of the review where she describes the format and theme of the collection:

Footnote, Trish Hopkinson’s clever new chapbook, is a multi-layered journey through literary history and popular culture. Each poem reads well on its own, but the footnotes (represented with an appealing * at the bottom of the page rather than the usual, academic 1) add context and meaning. Hopkinson embraces the anxiety of influence and openly engages with her predecessors who include the canonical (Emily Dickinson), the avant-garde (David Lynch), and the radical (Janis Joplin). It’s as if, in these poems, Hopkinson is answering the question “Which artists would you invite to a dinner party?” and the reader has been invited to eavesdrop on the ensuing conversation.”
Trish Hopkinson, Book Review: Footnote, by Trish Hopkinson – by Deborah Hauser via Stirring (always open for submissions!)

*

I have been a huge fan of KateLynn Hibbard’s work since her first book, Sleeping Upside Down, was published in 2006. She followed this up with her luscious collection, Sweet Weight. And now, after way too many years, her third full length collection, Simples, published by Howling Bird Press has just been released — a haunting collection of historical poetry inspired by women’s experiences living on the Great Plains frontier.

This is a book you do not want to miss. And while the music of the lines allows you to feel you are floating across the page, there is also true pathos in the work. Hibbard time travels through the Great Plains employing a variety of personas: healer, teacher, locust swarm and Jewish bride-to-be. In a lesser poet’s hands these characters might seem contrived but not in Hibbard’s hands.

Trees bowed over with the weight of them and they ate—
the tall grass the wheat the corn the sunflowers
the oats the barley the buckwheat the bark

(from Swarm)

The poems accrue and create a dreamscape of life where the work is unrelenting and the landscape both awe inspiring and cruel. Hibbard’s background in Women’s Studies (both as a poet and a scholar) is integral to this project.
Susan Rich, Simples: The Joy of Reading KateLynn Hibbard’s New Book

*

There is a lot that I don’t talk about on this blog, as I am very conscious of respecting the privacy of those around me. So I will keep this brief. There was a sudden and tragic death of a young man in my family this week, and we are all reeling from it. I am shocked and saddened and very concerned for those who were closest to him. I’m unable to concentrate well enough to write anything at all today. So I will simply leave you with some poems, and a plea to hold your loved ones close. […]

On Emptiness
by Kristen McHenry

When I stick my hands in there to feel around there’s nothing. Once I sat for emptiness alone, entire months, flailing blindly in the spaces where emptiness had weight. Nothing rolls off of my palms, nothing mocks my efforts. I’m parched and have received bad information. All that time I sat, breathing in, only to know my own low feelings. To kneel there open-handed and say, this is all I have to offer. My palms no longer ferry light.

They say within a void lies all possibilities, but I think there are only two persuasions: Corpulent emptiness, and a nothingness that drifts above our heads, that will not acknowledge us. In second grade we planted seedlings. They came up vivid, lusty shoots. I understood then there was a kind of order, that this was nature’s outcome. It was impersonal and pleasing. Could I now proclaim, I am feeling full, or I must fill up, or, I am fully felt. I flounder with seeds and window boxes. The problem is that emptiness has teeth, and wishes of its own. The emptiness is un-content. It will not do with the least it can survive on. No stones, no feathers, no shells settle in my hands. Only a crusted thing, grown around its nut, seed of all nourishment, jewel of the essential.

Sit and think of nothing. Sit and engage only in the hollowness of breath, its motion in your veins. I tell people all day long because I believe it is important: We breathe in oxygen, we breathe out carbon dioxide, the lungs lunge, the lungs do their job. There is nothing easy in the effortless.

I remain to this day faithless despite everything I knew my heart could do. I stick my hands in there to feel around. I bring up tangled in my fingers a clear and weightless substance that slips off into space.
Kristen McHenry, Hard Days

*

Even as this term’s portfolios and papers come snowing down and I organize next term’s particulars, however, I’m trying to bask in another grand finale: the re-launch of Shenandoah. It’s stunning how much Editor-in-Chief Beth Staples has accomplished since she started in August: the dated-looking website has been radically redesigned on a new server, but most importantly she recruited exciting new work–a few pieces by distinguished writers who’d appeared in the magazine under R. T. Smith’s editorship, but many, many others from writers who might not have considered sending to us before, so that the issue is more inclusive than ever along every possible axis. I say “us” because Beth, who has a collaborative spirit, included her new colleagues as volunteer readers from the beginning, and by mid-fall had appointed several of us as genre editors, including Seth Michelson for translation, Chris Gavaler for comics, and me for poetry. I didn’t read every entry or make every call on acceptance or rejection in my genre, and that will be true of the next issue as well (towards which a lot of work has already been accepted) but I did read thousands of pieces (and am still processing the last few from our fall reading period).

So, OF COURSE I’ll be teaching poems from the new issue next term. My syllabi always include plenty of books on paper; I love print as a medium. But a digital issue can be a great addition to the mix: free, ultra-contemporary, and diversifying a reading list in interesting ways.
Lesley Wheeler, Teaching from online magazines

*

And after over a decade of submitting to Shenandoah, I have a poem in their newly relaunched issue. When Beth Staples, who recently took over the literary journal at Washington and Lee, sent me the e-mail a few months ago, I was in shock. A dream journal for me for sure, and happy to be part of the relaunch. The poem is called “Introduction to Writer’s Block.” It’s also an extremely personal poem for me, as it describes trying to write poetry again after a severe MS flare hospitalized me last fall, and I was struggling with memory loss and aphasia, trying to literally find my words again. Anyway, so happy to be in the issue! […]

Today the morning is clear and cold again, Stellar jays darting in the trees, hummingbirds around our feeders. I am looking forward to seeing some writer and artist friends for “art dates” in the next two weeks. I am thankful for publishers who send out royalty checks (this time, thanks to Two Sylvias – they always send royalty checks right before the holidays, which seems a lucky time to get a check) and thankful for people who volunteer at our zoo to keep red pandas and snow leopards alive and healthy, thankful to all people who create art – and those who support art with their time and money. I am thankful for days I have enough energy to get up and go out of the house to experience the lucky world I have around me – flowers, trees, holiday lights – and thankful that this year I am not as sick as I was last year around this time. I am starting to think, in a hopeful way, about 2019. May it be a better year for all of us.
Jeannine Hall Gailey, Lots to Celebrate Edition- New Poems up at the newly relaunched Shenandoah and SWWIM, Zoolights and Red Panda Cubs, Thanks to Escape Into Life for a Pushcart Nomination

Poet Bloggers Revival Digest: Week 42

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.

Maybe it’s just the mood I’m in, but this week I found myself drawn to that most ubiquitous type of writer’s blog post: the announcement of recent writing or publishing success. Though often brief and unassuming, taken together, I think they showcase the incredible variety of opportunities for expression and publication that are out there these days, not to mention the imaginative depth and versatility of the poets I follow. First, though, let’s have a few reviews…

Friday & Saturday I had the opportunity to hear poet Lola Haskins read and to teach a workshop.

It’s my first exposure to Haskins though I had heard good things about her. Her Friday night reading was remarkable in that she read everything from memory, her voice is soft and yet words chosen in her work are profound. Each and everyone with a purpose. It was especially intimate because she was so in tune with the audience and not a page in front of her.

Saturday she quickly set out to provide sound advise and tool for eradicating the dreaded boredom that creeps into our writing and takes over. To stop writing from safety and write from risk.
Michael Allyn Wells, Breaking Out of Boredom with Lola Haskins

*

Sometimes, if I wake up extra-early, I’ll make a pot of tea and read one of the many bound-to-be-good poetry books stacked on the cyborg (what we call the sideboard, for obscure reasons). This morning I read Diane Seuss’ Still Life with Two Dead Peacocks and Girl. It’s full of elegy and ekphrasis, a very rich book I can’t do justice to here. As far as analytic sharpness, I’m tapped out at the moment by teaching and student conferences; I’m just reading receptively, to fill the well. But I’m moved by her poems mourning a father lost in childhood, friends lost to AIDS, and her own lost girl-self. I’m also processing a brilliant reading and visit from Rebecca Makkai, whose much-acclaimed novel The Great Believers concerns the arrival of HIV to Chicago’s Boystown in the eighties. Rebecca was my student here in the nineties; I remember her fierce intelligence well, how she blew in like a wind ready to strip away stupid traditions, as the best of my students do now. But that version of myself feels long gone. All these texts and memories mirror each other fractionally, so my head feels busy with bright shards.

I’m also especially taken by Seuss’s self-portrait series, perhaps because one of my classes is deep in discussion about confessionalism. Here’s one: “Self-Portrait with Sylvia Plath’s Braid.” But I like “Self-Portrait with Levitation” even better: “Embodiment has never been my strong suit.” Here’s to learning to float again, one of these days.
Lesley Wheeler, Still life with two relaxed superheroes and a sparkle pen

*

September is coming to an end and the falling temperatures leave north-east England sharp but bright. I am on a train from my home town in Northumberland en route to Münster in the German province of Westphalia. The 2018 ZEBRA Poetry Film Festival awaits at the end of my long train ride: three days of poetry and film in a city reaching summer’s end. It is a good time of the year for poems, I think, and a good time of the year for films.

My excitement is tinged with the knowledge that this may be my last visit to the continent as a fully-fledged citizen of the EU. I’ve always wanted to visit ZEBRA. It seems to be an important place for poetry and film but when one of my films screened here four years ago, I couldn’t afford to come. I’m expecting an international affair: a reminder that, regardless of who is playing games with our borders and our nationhood, people will get together with others to write poems and make films. I am heartened by the fact that the very act of making a poetry film defies and challenges creative and political borders.

As I trundle my way through France and Belgium, I reflect on how the poetry film community is naturally collaborative. It needs more than the single artist in order to exist. That’s not to say that a person can’t make a poetry film on their own – I have done this and many of the films at the festival will surely be author made – but rather that if everyone worked in isolation, as much of the UK’s mainstream poetry world does, the world of poetry film would not be so rich and diverse. Part of this seems inherent in the medium: the juxtaposition gap often works best with two other-thinking minds. It sits at an intersection between several worlds: those of poetry, film-making, television, experimental art, music, sound art and artist’s moving image. Arguably, the poem is the only essential ingredient because without it, the form does not exist.
Stevie Ronnie, Film Ab!: A personal report on the Zebra Poetry Film Festival 2018

*

This summer I was wildly honored to have my poem “To The New Journal” published in the Summer Issue of the Southern Review. This is the third time I’ve been published in SR and I am a true fan of both the words and the visual art that they publish. There editors are professional, kind, and smart. But there’s one thing.

The Southern Review doesn’t feature much work on their website and so once the physical object of the journal is read and put on the shelf (and maybe tossed from libraries at a later date) most of the poems and prose are gone. Enter the Academy of American Poets with a new project: to showcase more poems on their website. Through an agreement with the Southern Review and Tin House, poems that were published in these print journals may now have a forever home as part of the Academy’s curated collection. This is the reason I can share “To the New Journal” with you.
.
Much like the Poetry Foundation website, the Academy of American Poets website seeks to provide an essential resources of poems, essays on poetry, poet bios, and lesson plans to anyone who is interested. Need a poem to read for a wedding or for a divorce? These websites can help! Teaching a poet and want to bring their voice into the classroom? These are great sites to access.

However, sometimes poems swing the other way: from the worldwide ether onto the printed pages of a book. My poem, “Boketto” based on the Japanese word which loosely translates to, to stare into space with no purpose, appeared on the Academy of American Poets site two years ago. This month, “Boketto” stars in the new craft book, The Practicing Poet, Writing Beyond the Basics, by editor, poet, and publisher extraordinaire, Diane Lockward.

Diane contacted me and asked for permission to reprint “Boketto” in her newest anthology / craft book (this is her third and each one is worth owning) and I happily agreed. In The Practicing Poet, Diane has created a prompt for a “weird word poem” based on my work. She has also done an explication of the poem that showed she had read the work carefully noticing the focus on double-barreled words and chiasmus (and no, I didn’t know the word chiasmus before yesterday but I like it and it describes a key strategy of the poem.

So this month I get to swing both ways: page poems onto the web and web poems onto new pages. I’m feeling very lucky indeed.
Susan Rich, The Joy of Poetry (That Swings Both Ways) Academy of American Poets, Practicing Poet, and the Southern Review

*

Many thanks to Matt DeBenedictis and John Carroll for having me as a guest on the Lit & Bruised literary podcast. We talk poetry, travel, London and the forthcoming publication of Midnight in a Perfect World. You can listen at this link.

And don’t forget to preorder the new collection and be entered to win a free manuscript/chapbook evaluation from me! Preorder from Sibling Rivalry Press at this link.
Collin Kelley, Talking poetry and travel on the Lit & Bruised podcast

*

Spent three and a half hours writing just over 1500 words of Accountability Partners today (my non-verse play). And in the morning, before the kids woke up, I wrote another poem for the new manuscript. That makes over 60 poems written since the end of June!

Sorry for the blog brag, but I had to share my good news with the universe. I’m on some kind of unprecedented tear here, and thoroughly enjoying it. I mean, not all of those 1500 words are golden, and I sincerely doubt all of the poems are publishable (certainly not right now — most need the benefit of time and careful revision) . . . but I’m so, so happy and grateful for the generation. And, yes, relieved. Because at this time last year, I was already having serious doubts about my abilities and future as a writer (even before the bad news/sabbatical debacle). After all — while it goes a long way toward helping with validation, publication is not necessarily the thing that makes one feel like the genuine article. It’s the ability to commit and get the thing that you want to write done. And after many years of just fucking around, treading water, I’m finally moving in an actual direction. Making progress. Yay!
Sarah Kain Gutowski, Long Form Friday Report

*

I’m really enjoying writing poems for ‘Frames of Reference’, part of the public art programme for King’s Gate, Amesbury, commissioned by Ginkgo Projects and funded by Bloor Homes.

I’m one of six Wiltshire-based artists who’ve been given a Local Artist Bursary for this project. You can read about some of the other artists and see examples of their work on the Ginkgo Projects’ site. The brief for this project is to create new work in response to the landscape and heritage of the area in and near Amesbury, so I’ve been working on some Wiltshire poems for the last couple of months, in between my other work.

For some poems, I’ve been thinking about my own life in Wiltshire and the ways I interact with the landscape and history here. For others, I’ve taken a different approach. For instance in my poem Circles and Wildflowers, which I’ve recorded onto SoundCloud and which you can read below, my starting point was the word ‘circle’ and some of its synonyms, combined with the names of wildflowers native to Wiltshire – names so gorgeous they are poems in themselves. Circles are an important feature of the landscape here with, to give some examples, the World Heritage sites of Stonehenge, Woodhenge and Avebury Stone Circle nearby, not to mention crop circles which mysteriously appear. [Click through to read the poem.]
Josephine Corcoran, Circles and Wildflowers

*

Before we get too far away from last week, and the week before that, let me record 2 publishing successes. I got my contributor copy of Gather, which published my article “Praying with Medieval Mystics.” In it, I explore Hildegard of Bingen and Julian of Norwich–longtime readers of my blogs know that I’ve explored the lives of those women before, but I like the ways I wove the ideas together.

I also got my contributor copy of Adanna, which published my poem “Blistered Palms,” which I wrote in the aftermath of last year’s hurricane season. It was one of those strange moments, reading the poem, when I recognized the inspiration for some of it, but not the rest; I don’t remember the writing process, the way I do with some poems. I remember driving by the huge piles of brush which had shreds of trash blowing in a breeze. It was close to Halloween, and at first I thought I might be seeing a Halloween decoration that had migrated, a ghost in those branches. I remember the time when it seemed that every morning, a different piece of jewelry broke.

Do I see this poem as hopeful? Yes, in a way. I also see some of the spiritual elements of my Christian tradition, that direction to try fishing again, maybe from a different side of the boat. And of course, there is the title, which talks to me of both the palms of hands, whether they be crucified hands or hands blistered from clearing away hurricane damaged palm trees. [Click through to read the poem.]
Kristin Berkey-Abbott, Poetry Monday: “Blistered Palms”

*

I have been lucky in print this year. Two literary journals that I’ve long admired, Bellevue Literary Review and Prairie Schooner, published my poems. This is “a big deal” to me, because it is always exciting to be admitted into the pages of a magazine I like and because, despite the advantages of online/cloud-based literary journals, I love print!

There’s something inexpressibly marvelous about holding a book in my hands, turning the pages, and having a physical object–paper, binding, print–to carry with me.

Online magazines, theoretically at least, have a longer reach and can capture more readers (“hits”) than print. Literature requires audience, and the interwebs offer potentially millions of visitors to the poem online; but the operating word here is potential. What’s possible isn’t what generally happens. The readers of online literature, those people who stay on the poem long enough to read it–and then read the next poem, and the next, on-site–are not as legion as we poets might wish.

Through moderate use of social media, I do publicize my own work when it appears online (see links to the right on this page!). I welcomed the appearance of literature on the internet because one of my purposes for writing is to communicate with people. Readers matter to me. Getting my words into the public domain is the only way to begin that process of communication, and though online journals seem like the most ephemeral form of ephemera, they do make it easier for me to “share” (thanks to Facebook, I am beginning to despise that word) the poems or essays I’ve crafted.
Ann E. Michael, In print

*

Thank you to Escape Into Life for including an art and poetry feature containing my poems about the moon and some gorgeous art work. And I promise you, these are not your old run of the mill moon poems. There are universes being torn asunder, menacing Blood Moons, magical nightflowers, and some gorgeous art work. Here’s the link and a sneak peek:

Escape Into Life Moon Feature by Jeannine Hall Gailey
Jeannine Hall Gailey, Escape Into Life Moon Feature Poems, Autumn Scenes from Seattle

*

I’m over the moon to have a poem in the latest edition of Rise Up Review, a US based online magazine that publishes exciting and innovative new work. I know how hard it is to keep up with everything that’s being published, but if you have time, check out their Found/ erased section too, showcasing some excellent cut ups and composite fictions by Kathleen Loomis and J L Kleinberg (whom I first came across in Streetcake, an online journal that publishes experimental writing).
Julie Mellor, Rise Up Review

*

One of the most daunting challenges that confronts every struggling and submitting poet is the demand for “previously unpublished” poems. We have grown used to it by now, and most of us have developed elaborate systems for keeping track of what poems have already found a home, which are somewhere in the submission process, and which are virgin territory. We work with it, but we are not required to like it, and I would like to take this chance to say that it doesn’t serve us, the poetry community, or the poetic canon well.

It is understandable that publications and editors want fresh work, want publication rights and exclusivity, yet in asking, always, for work that has not yet found an audience they are eliminating the opportunity to re-publish some of the finest poems being written today.

In a hypothetical scenario a fledgling poet may write a poem that is, against all odds, a minor masterpiece, and since he or she is new at the game the poem will be submitted to a local anthology, or even a chapbook published by a local writer’s group. And…there the poem stays, unread, unhonored and unquoted save for the fortunate few who stumble across it.

One would think that publishers and lit mags would want the best of the best but their insistence on previously unpublished effectively screens out and eliminates many of the finest poems being written today. I believe that this may be one of the reasons that poetry is less in fashion today, because there is so little poetry that receives popular acclaim (and in no way am I implying that popularity indicates excellence). However, our audience, as poets, has to hear our voice and read our words in order to respond. The likelihood of any single poem becoming well-known or well-loved when it has a single publication, and often in a magazine with quite limited circulation, is small indeed.
Re-thinking Previously Published Poetry – guest blog post by Kathy Lundy Derengowski (Trish Hopkinson’s blog)

*

This time it’s not just one poem. I’m staring down a bunch of poems. Make that a chapbook-length collection of poems. I’ve been sending them out individually and as a chapbook. With no luck. But I’ve long had this little hmm of concern about them. So I keep revisiting them, and having an argument with Me and Other Me:

– I read these poems and get a little glurgling in my gut. What is wrong, what is wrong?

– Is it the burrito we had for lunch?

– No. It is not the burrito we had for lunch. I’m sorry, I have to, again, come to the conclusion that the emotions of the poems are obscured. Or overly intellectualized. Or not well realized. Or, frankly, nonexistent. Too many of the poems feel like intellectual exercises.

– But we’ve been working on these for almost two years!!! There are some very interesting parts of many of these poems. There is emotion in some of them.

– But the sum? No. we just have to face the fact.

– But wait, two years worth of work? Must we chuck it?

– Quite possibly. In economics that time and effort is called a sunk cost. You can’t worry about it. It’s done and gone. The product just doesn’t work. It’s the clunker of chapbooks. A lemon.

– But, wait, let’s be reasonable. What about the parts that work? Can’t we start there?

– Yes. We can, clear-eyed and with renewed energy, start there. But there are no guarantees. Isn’t there a column in some magazine: “Can this relationship be saved?” That’s where we are. The answer could possibly be “no.” It’s also quite possible that we have not a chapbook-length collection but just a few good poems. They can be used toward some other as-yet-to-be-realized collection. The rest can go in the chuck-it bucket.

– Eesh. Okay, I might be able to live with that.

– Frankly, remember, all of these poems started out as imitations. So to some degree, they ARE intellectual exercises. We were trying on other poets’ rhythms and thought processes.

– Yeah, but we were inserting our own thoughts, our own nouns and verbs and clauses, so they did arise out of our own concerns. And then we edited them toward our authentic voice.

– But I can still detect that disconnection, that roundabout route to the poem. We have not shown what is at stake in these thoughts, situations, these descriptions, flights of fancy. We have not truly plumbed what these poems are “about” for us.

– This question, “what is at stake,” annoys me. What is ever at stake in a mere poem? No lives are lost or saved here.

– No? We are an uttering animal. We cry out in words. We jubilate in words. A poem can be a little cannon of power. What’s at stake? If I, the reader, don’t feel that something vital is at hand, some deep energy impelled the poem to being, then the poem misses the mark. I can indulge in memory and fantasy and philosophical meanderings. I can tell you my dream. But if I have not conveyed the deep “why” of what turned those into utterance, then I am wasting the reader’s time.
Marilyn McCabe, I Second That…; or, Considering the Emotional Gravitas in Poems

Poet Bloggers Revival Digest: Week 39

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.

If there’s one thing poets are good at, it’s finding words for the unspeakable and the outrageous. That quality was at the forefront this week among American poetry bloggers. Also, no surprise, we seek solace in reading and writing poems. So much of this digest is concerned directly or indirectly with the Kavanaugh hearings, but there’s also some fascinating miscellaneous stuff toward the end, so if you find some of the initial posts triggering, scroll quickly to about two-thirds of the way down.

How intense it was this week to be alternately following and averting my eyes from the Senate hearings as I taught Sylvia Plath to seventeen stingingly sharp students–trying to open up space to talk about anger, violence, gender, and race in powerful but often disturbing poems. Plath’s handling of metaphors related to the Holocaust, slavery, and Civil Rights always seemed problematic to me–it was a big topic in the early nineties, when I attended grad school–but I am now wondering how defensible it is even to keep the poem “Ariel” in particular on an undergraduate syllabus. While Plath’s use of terrible slurs wears worse and worse over the years, however, her bee poems–explorations of rage and other dark drives, sometimes encoded in racial metaphors–also feel more and more fundamental. Plus last year’s news about her abusive marriage , especially as captured in Emily Van Duyne’s “Why are we so unwilling to take Plath at her word?”, is crucial right now. We need to do a way better job at respecting survivors and understanding the costs they suffer.
Lesley Wheeler, The bees are flying. They taste the spring.

*

As I have mentioned before, my new book of poetry The Lure of Impermanence came out in July. I included in this collection a poem called 9 to 5. I wrote this poem when the #MeToo movement had just begun its groundswell.

Today, Bill Cosby was sentenced to 3 to 10 years in jail for sexual assault and Supreme Court nominee Brett Kavanaugh is currently being scrutinized for a number of behaviors with women that are at best disturbing. And these are just a few of so, so many more stories just like them.

I have lost confidence in the ability of the news to report in any unbiased manner and therefore I am more often than not left to my own judgment and experience by which to consider stories reported in the media.

And what my experience considers is that I personally know girls and women who have been abused by boyfriends, family members and spouses.

What I do know is that I was carried to a bedroom by a man who was much older than me when I was barely of legal age and stoned on marijuana. A man who held a position of respect in the community.

What I do know is I am shaking as I write that last sentence because I recall that night as vividly as if it were today. Only it wasn’t today. It was 45 years ago.

What I do know is that I told no one. What I do know is that I was ashamed.

What I do know is that I am someone’s mother, wife, daughter and friend and none of them knew. What I do know is I am not sure I want them to know now.

What I do know is that all women deserve the simple right to be respected and have control of what happens to her body and if I could ask anything of you it would be to consider the women you love. Consider their experience. Because it is possible that the people who love her most, don’t know the dark places she has been afraid to shed the light on. Because to do so is to expose herself to being rejected, silenced, not believed or worst yet blamed.

And until history proves it unnecessary, may we all slash, slash, slash, this roughshod blazing path.
[Click through to hear and read the poem.]
Carey Taylor, 9 to 5

*

I’m feeling a strange mix of anger and resignation. How can we not be any further along towards a vision of a just world than we are right now? How can we be decades after the Anita Hill hearings and still be no better at handling these kinds of allegations?

But let me also remember that these times are not those times. This year, 2018, is still a better time to be a woman than 1918 or 1818–or even 1991. A woman can bring a charge forward, and she has a better chance of being believed. We are better at knowing what boundaries should be, even if those boundaries are not always respected. There are laws that might protect us all–once those laws didn’t exist, and the idea that they should would not have existed.

Still, we have not yet arrived at the future that I hoped for when Anita Hill testified, and I was a younger woman in grad school. Let me hold onto that idea of a time when people’s bodies are respected, when boundaries are maintained, when people will not trespass even when we are unconscious, when the powerful do not prey on the weak. Let that time come soon.
Kristin Berkey-Abbott, Self Care on a Day of Many Triggers

*

It says something that most of my women friends are posting today about the courage of Christine Blasey Ford and how difficult and deeply discouraging these days are for them, while most of the men — even the liberal ones — are posting…well, let’s just say, the usual stuff. For many of us women, it is impossible to look away or to think of much else right now. There is a disconnect between the sexes that goes very deep in our society, just as there is a deep disconnect between the races, and until that changes fundamentally, we will keep repeating the pain. I have appreciated the men, like my own husband, who have expressed their understanding and dismay, and I would ask that those of you who haven’t please try to put yourselves in our places as people who have endured behaviors, harassment and assaults that have affected us all our lives – and yet we have tried our best to forgive those who hurt us, to love and trust other men, and enter into full, loving relationships with them. Please try to think about that, and what it takes.
Beth Adams, #BelieveSurvivors

*

Just in time for the Halloween season. I Am Not Your Final Girl is a collection of horror-themed poetry draws on the female characters of horror cinema — the survivors, victims, villains, and monsters — who prowl through dark worlds, facing oppression, persecution, violence, and death. In her introduction, Claire C. Holland notes, “I draw strength from the many strong women around me, both real and fictional.” The women in this collection channel their pain and rage into a galvanizing force. They fight. They claim power over their own bodies. They take their power back. They do not relent.

“I have known monsters and I have known men.
I have stood in their long shadows, propped
them up with my own two hands, reached
for their inscrutable faces in the dark. They
are harder to set apart than you know.
— “Clarice,” The Silence of the Lambs (1991)

As a horror fan, I know many of the characters and movies referenced, and it’s fascinating to peer in at them from the unique perspective of these Holland’s words. That said, there just as many that I haven’t seen and a few I had not hear of — but not knowing the direct reference in each case did not stop me from enjoying the poem for its own sake, the words drawing me in. And now I have a list of movies that I need to seek out and watch.

“Separate yourself, like sliding wire through
clay. Divide your organs – heart, lungs, tongue,
and brain. You think you need them all?
You’d be shocked what a woman can live
without. We’re like roaches, we thrive”
— from “Shideh,” Under the Shadow (2016)
Andrea Blythe, Book Love: I Am Not Your Final Girl by Claire C. Holland

*

I took this photograph less than one week ago but so much has changed since then that I can hardly recognize that it wasn’t so long ago: before Dr. Blasey-Ford’s testimony, before two brave women, Maria Gallagher and Ana Maria Archila, confronted Senator Flake (R-AZ) in an elevator and before he changed the course of history — at least for one week; we hope more.

Lucille Clifton and Adrienne Rich are two important poets for me (for American poetry) that I return to again and again. The day after the 2016 election I shared the Clifton poem with my Highline College students. I’ll never forget one young man sitting with this poem and then articulating his thoughts and ideas about it beyond anything he had done in class before. He illuminated the levels of this piece for me, for the entire class, in a new and necessary way. He brought in the idea of immigration, the trip many of my students have taken in boats, in braving a new world. I share these pieces now as a way to hold onto sanity in this new insane time. May they be of help to you, too. [Click through to read the poems.]
Susan Rich, Two Poems for Right Now

*

If you’re a woman, or a rape survivor, you probably had, like me, a very tough week. It’s hard to watch rape victims who bravely come forward against powerful (and terrible) men be jeered, or things being said like “it’s no big deal” and “boys will be boys.” Infuriating to those who have had that happen to us.
That was on top of the fact that I’m still recovering from a month of MS illness, still getting my legs literally back under me again, starting to eat solid food, coaching myself in swallowing, in catching a ball, in using a cane.

So to keep my sanity, as I was recovering, I decided to read A Writer’s Diary by Virginia Woolf and signed up for a Masterclass on writing with Margaret Atwood, and started watching Netflix’s Alias Grace at the same time. Woolf is tough and unemotional in her journals – quite a departure from my last journal/letters of Sylvia Plath – she mainly gives an account of her walks, what she’s reading and what she thinks of it (she can be quite a snippy critic), some thoughts on feminism and literary notes about what she’s writing, stress about deadlines and money. The last bit – right before her suicide – she mostly talks about the bombings on London in a remarkable chipper tone (I want to live! she says over and over in these pages) even after one of her houses is destroyed by a bomb, while the countryside around her is showing signs of destruction, while Germany is threatening in invade. She talked about wanting to live, but then a few days later, she’s dead. Woolf was a driven writer, ambitious and sharp, an intellectual aiming to change the culture. Like Plath, deeply flawed, and though she was much older than Plath when she took her life, it’s almost incomprehensible, even when you know it’s coming.

On the other hand, the bracing wisdoms of Margaret Atwood – also intellectual and very sharp – in her Masterclass (about $90, a bargain I think, which includes teaching video modules, pdf worksheets, and outside resources like Lorrie Moore’s book review of one of Margaret’s books and an hour long panel on speculative writing) gave me inspiration, homework, real insight into her own rewriting of her books and her own journey to becoming a writer, feminism, speculative writing – I’m not done with all the modules yet and I’ve already written a short story (very rare for me) and two poems as part of my homework. If anyone could be an antidote to this week’s terrible misogyny by men in power, it’s Margaret. I’ve read all her books, but her descriptions of rewriting Alias Grace inspired me to watch Netflix’s version of the story, which I’ve found more subtle and also, more hopeful than Handmaid’s Tale.
Jeannine Hall Gailey, Margaret Atwood and Virginia Woolf during a Tough Week, Healing and the Last Fall Flowers, and Poems of Resistance

*

Still I dream. Last night, seven dead mice
strewn across my coverlet, harking back
to an arresting image—Bodily Harm

rat emerging from vagina. I do not
make these things up, I’m too weary.
There is not enough salve

on the continent to swathe this busted body,
nor breath to resuscitate this heartbreak.
Risa Denenberg, Sunday Morning with Heartbreak

*

Wislawa Szymborska’s poems are in my head today, prompted by finding a dead beetle on my porch. Novice entomologist identifies dead bug, then thinks of poems. […]

In Joanna Trzeciak‘s translation, the second stanza begins:

For our peace of mind, animals do not pass away,
but die a seemingly shallower death

…a phrasing that evokes more clearly (to me) how humans use a sort of euphemistic, possibly spiritual phrase for being dead. And in this translation, the last stanza reads:

So here it is: the dead beetle in the road
gleams unlamented at the sun.
A glance would be as good as a thought:
it seems that nothing happened here.
Important supposedly applies only to us.
Only to our life, only to our death,
a death which enjoys a forced right of way.

Both translations are lovely, but I think I prefer the Trzeciak version, though I would be hard-pressed to say why; and I certainly cannot compare either to the original, since I do not know Polish.

What I love about this poem is its perspective, as reflected in the stances of title and stanzas. Literally, the speaker is above–looking down at a beetle husk. Tidiness in an insect’s demise–as opposed to our own. Then the point of view shifts, suggesting we humans are “above” the animals, their deaths less upsetting to the cosmos. But we are the cosmos, in our egotistical narcissism; and then, at last, death reminds us how unimportant we are…no matter how we think of ourselves.
Ann E. Michael, Seen from above

*

Chief Uniform bans the attachment
of the inferior where he is
in front. The band is found descending
on the borders. These bands serve, produce
character. They are scattered. They spread
out. Uniforms form beings. They form
layers. They become and form the coat.
PF Anderson, Uniforms

*

If you want to write, if you want to be the writer you dream of being, then you have to write. And yes, you, too, have a life. So how do you carve writing time from that busy life?

  1. Write first thing in the morning, before everything else gets in the way.
  2. Write for a short, doable amount of time. Decide how much time that is, and if it’s only 15 minutes or 5, don’t fret about it. Set a timer and write.
  3. Write an email to yourself (or to your mother), but instead of “Hello, how are you / I am fine,” write a few lines for a poem, or a character sketch or a summary of the greatest blog post ever. (I find that I dash off emails, and within that framework I can sometimes circumvent what’s keeping me from writing.)
  4. Write ONE great 140-character line and Tweet it. Apply this principle (see #3) to whatever sort of writing you find easiest–just hijack it and go.
  5. Write in your car (parked of course, preferably in a very safe park, but a parking lot will do). Five or even fifteen minutes of writing in your car will not make you (too) late to dinner.
  6. Write during meetings. If nothing else, write a character description of the person leading the meeting. (I have a very interesting poem in which my former boss morphs into a dragon.)
  7. When you feel blocked–try writing out someone else’s words (attribute them clearly, of course) as a way to kick start your own words. Try following up with a close imitation, but with your own subject matter.

If you’re a teacher–here’s one more suggestions: WRITE WHILE YOUR STUDENTS WRITE.
Bethany Reid, 7 Ways to Get More Writing Time

*

It feels a little strange not to be in a school in September but it’s also rather pleasant! I’m really enjoying writing poems about Wiltshire with my Ginkgo Projects/Bloor Homes Bursary. The brief for this project is fairly broad but I’m responding in poetry to the landscape and heritage of the area in and around Amesbury. I can’t share any work here yet (I’ve written a few poems but I’ve sent them out somewhere for consideration so need to keep them under wraps for now). I’m quite excited, though, that some of these ‘Wiltshire’ poems might also tie in with themes that seem to be emerging in other new poems I’m writing, which are to do with being in a long-term relationship, ageing, the menopause, being an older parent, being a parent to young adults, and other matters. How to package all of these ideas into a concept that will sound enticing on the back of a book?? I think I need to work on that!
Josephine Corcoran, Mid-week catch-up

*

The poetry-book publishing world remains a strange place. There’s not much money for anyone in it, really, and not much social capital beyond our relatively small circle of poets and poetry readers. Whether you have a book is not reflective of your worth as an artist. I know all this. And yet it means so much to me. The idea of having my poems made into a book that I can hold, that maybe someone else will hold and even read? It’s magic, or at least I’ve built it up to that in my mind. […]

The story isn’t done yet. It gets weird at the end. Weird in a good way, mostly. Literally the day I wrote the first draft of this essay, with the manuscript pending at three final presses and the rejections due any day, I received an email from a small press accepting Seducing the Asparagus Queen.

I was stunned, happy. It felt like cheating. It felt undeserved, in the way that such good news often does. It didn’t feel quite real. Really? An acceptance on the same day I began drafting the goodbye essay? Sounds made up for the movie version. But there it was.

I told only my wife and a friend or two, waiting to make the announcement to the world until I’d signed a contract. A contract, it turned out, that was not forthcoming. I mentioned to the publisher that I’d like to get it signed and that I didn’t want to withdraw the manuscript from consideration at the other two presses where it remained without a contract. No problem, I was assured. But no contract. Another reminder from me a month later, a quick response to the email, but still no contract. I was starting to get worried, began to think I might need to revisit that goodbye essay after all.

Two months and a day after the acceptance, still no contract in sight, I heard from the very last place that had the manuscript under consideration: Seducing the Asparagus Queen had won the Vern Rutsala Prize from Cloudbank Books and they would be publishing it late in the summer. They sent me the contract the same day.

I didn’t feel good withdrawing it from the first place that had said yes. I talked to several writers to make sure I was doing the right thing. Everyone assured me that yes, I was well within my rights to accept the prize from Cloudbank. So I did. I still feel a good bit of guilt about that first press, which is a small operation that puts out good-looking books, but I did spend two months asking for a contract, and if I’d received one, I would have instantly withdrawn it from Cloudbank. But I never got one, I didn’t withdraw, and now the book is a physical thing in the world.

When I tell people this story, they often say something about persistence paying off. And yeah, submissions 50 and 51 were the ones to get a yes after hearing no from 1-49. I did the work and eventually got the result I wanted. But I could have decided to shelve the collection one round earlier, which honestly I would have if not for a heartbreakingly kind “almost” rejection I received the previous summer from a press I love. Both Cloudbank and the other press certainly could easily have picked someone else. To me, the fact that they picked my collection feels more like a bit of arbitrary good luck more than a reward for my continued efforts.

When I decided to put this collection in a drawer, I was at peace with that decision. I had given it a fair shot and then some. Not every poem I write needs to be in a book. Now that these particular poems will, in fact, end up in a book together, I’m pretty glad about that, too. It means something to me. Probably more than it should. When I finally held the physical book in my hands this week, I knew how close it came to not happening. Here’s something else I know: I was not entitled to this result. There is no deserve to this. I did the work, yes, and I do think the poems are pretty good, but lots of writers do the work; lots of poems are pretty good or better. I got lucky, and I know it.
Publishing The Asparagus Queen – guest blog post by Amorak Huey (Trish Hopkinson’s blog)

*

The dreams themselves are on another storey,
where the concierge uses the master key to let himself in
using the mathematics of the number 3,
a magic number, relevant to everything we do,
so our lives are in this book too, like the man
who makes it his business to track down the au-pair
who drowned his only child in the bath
using a series of calculations based on the probability
that any closing chapter ends in a rented room,
the television talking quietly to itself,
a couple asleep on their backs.
Julie Mellor, Life: A User’s Manual

*

Q~Why do you write poetry?

A~Honestly, because I don’t sing very well. When I write poetry, and it flows, I feel a kind of catharsis similar to singing drunk in the bathtub: it’s an emotional and physical release. It’s like orgasm. It’s like running. I wonder if any scientist will ever hook up with a poet and measure their serotonin and oxytocin and all that, just as she finishes the line that pulls it all together. I would volunteer.

Q~On Twitter, you mention that your two passions are writing and running. Do you see a connection between the two?

A~I think running clears the space for me to write. I run in the mornings and then come home and write for fifteen minutes to an hour and a half, depending on the workday. Running is about breathing and taking in the smells and sounds of the world. It’s about listening. I had a project a few years ago called Running Metaphors that I’m excited to be starting up again from my blog and on Instagram.

Q~You said you have an “ambivalence and confusion regarding social media and what being part of a poetry ‘community’ means.” Can you explain what you mean?

A~Norway doesn’t have a tradition of academic writing programs in the Universities. My whole goal of getting a PhD and becoming “a poet” (i.e. teaching poetry at a university) and finding a tribe (as they say) went *poof* when I decided to stay here in Norway. I live here, and I write in English. That makes me an outsider. I am lucky to have an amazing translator, but I’ll always be considered an American poet by my colleagues here.

And yet, having been here so long, I no longer write to the American experience, and especially these days, that makes me an outsider in virtual poetry communities.

I don’t go to conferences or residencies. I see Instagram posts with hashtags like #poetshavingfun and get as jealous as a teenager. I guess I still crave the validation and community I’d planned for and imagined.

But then, I get eyes off the computer and go for a run, handwrite a poem in my journal and remember it was all a consumer package that I wanted. This is what I’ve got, and I make it work.
Bekah Steimel, Spinster’s Shroud / an interview with poet Ren Powell

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)

*

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

*

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.

****

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

****

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.

****

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

*

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”

*

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

*

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

*

–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

*

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

*

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)

*

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

*

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)

*

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)

*

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.

*

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

*

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

*

“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

*

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)

*

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

*

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

Poet Bloggers Revival Digest: Weeks 36 and 37

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 wasn’t able to post a round-up last week because I was in the midst of packing for my semi-annual migration across the Atlantic. So here are my picks from two weeks of poetry-blogging goodness, brought to you by jet-lag and coffee. Perhaps because I had twice as many posts to choose from as usual, I was especially struck by the variety on display, though there were a few recurring topics, such as how to organize poetry manuscripts, and the centrality of grief and loss.

You recently published your first collection of poetry, Glimmerglass Girl. Tell us about the project and how it came into being.

Some time ago I realized I’d written a lot of poems centered on the idea of femininity. It made sense to me to compile them into a collection. Many were poems I loved but that weren’t getting a lot of attention publication-wise. I think the most surprising thing about putting the collection together was that those poems (which at the time seemed like failures to me) suddenly made sense as a part of a collective whole. They spoke to each other in a new way. So that was my process, finding the pieces that I loved and wanted to contrast with each other to create new meaning.

What lessons did you learn in the process of pulling together your debut collection of poetry? What was the biggest challenge in finishing the project?

For me, the writing of a thing is the easiest part. I already had these poems I wanted to share with the world. The biggest challenge was marketing and getting those ideas out there. It is a lot of work to market a book as an indie author. You’re doing everything yourself: reaching out to people to ask for help, contacting reviewers, updating your website and social media. It’s exhausting in many ways but also thrilling because each bit of effort has a huge payoff. I feel forever indebted to the people who’ve supported my work and helped me get through it all. […]

You self-identify as a “weird writer.” How do you define weird writing? What attracts you to the weird?

Weird writing inhabits a liminal place between genres. It’s the stuff of the strange and not-quite-definable, a hybrid kind of writing that sings its own song and creates the instruments as it goes. Basically, it’s anything that doesn’t fit the mold. I think this approach excites me because I don’t really think or dream in the ways that are expected. For example, in Glimmerglass Girl, the poems could be called prose, and there are illustrations along with the words. This is just what felt natural to me while writing, and the fact that it’s weird is just a bonus.
Andrea Blythe, Poet Spotlight: Holly Lyn Walrath on hybrid writing and the idea of femininity

*

Roll up! Roll up!
By particular wishing
And for your delectable entertainment
The Circus of the Marvellously Menopausal Woman
Is in town.

Before your very eyes
You will not see her
Playing the object of desire
In a mainstream movie.

Gasp in amazement
At the wondrous curiosity
Of her living out her life
unnoticed.

There she isn’t!!
In line for promotion;
On advertising hoardings;
Anchoring a Talk Show.
Josephine Corcoran, The Circus of the Marvellously Menopausal Woman

*

I believe I first came in contact with Joseph Cornell through the poetry of Charles Simic. Simic’s Dime-Store Alchemy published in 1992 was one of the first hardback books of poetry I bought. I have to admit that the cover had a good deal to do with my choice — as did the title, Dime-Store Alchemy. Rereading this book now I realize it was one of the first project-based collections that I had encountered. Simic stated that he wanted to approximate in poetry what Cornell did with visual assemblage. […]

Much is known (and repeated) about Cornell. He lived on Utopia Parkway, Flushing, NY and never left the Northeastern United States. He lived with his mother and his younger brother, living alone after they’d both passed on. Cornell had no formal training as an artist, he made his living selling textiles. By all accounts, his life experiences were not vast or wide. And yet that mattered little in the making of his art.

And long after many mid-century artists seem forgotten or locked in another time, Cornell seems to only become more relevant, more exciting.
Susan Rich, Returning to an Old Love – Joseph Cornell

*

12:30 PM
We drive home and kiddo falls asleep in the car. EARLY NAP FTW. Once we get home, I transport him inside, and grab my laptop. IT’S ACTUAL WRITING TIME. Sometimes this is grading time, but for once, I am gloriously caught up, and have graded all of my students’ narrative essays. (They were lovely—pieces on what brought the students to their current career, nursing.)

I start by working on this piece about my Writing Day itself. Then I duck out of this document and get to work on my current project—a long poem/essay thing that does’t know what genre it wants to be. It’s “about” flowers, empathy, storytelling, and politics. It’s been a very slow process as I figured out what it would look like. I feel that it’s over halfway done, but am not quite sure where it’s heading. I’m on page 12—yesterday I added one page. My mom and stepdad took Henson to the zoo and I had some unexpected free time to work on it. It was my birthday yesterday, and that felt like a huge gift.

1:45 PM
I have found myself on Twitter somehow. This piece I’m working on requires research and frequent Googling. It’s both good and bad…it leads me down the internet rabbithole. I don’t think that Twitter is a waste of time (necessarily). For me, it’s frequently a place of helpful and intriguing ideas. And I leave it when it’s too much of a distraction. But for example, the other day, I asked about how other artists handle the balance of creativity and research (especially when their language starts to feel dry). I’m trying to get back to the magic and strangeness of this piece. It’s sort of working, so far.
Hannah Stephenson : My Writing Day (August 24, 2018)

*

All the fruit looks spoiled
in my cart, yet I just picked it
from the bin. I can almost see
the tomato shriveling inside
its skin. A little bit of vine is
still hanging by its stem.
When the farmer tore it
from its vine, did it make a
snap? Or did it make a crack?
Crystal Ignatowski, In The Grocery Store After My Mother Broke Her Neck

*

Ultimately, I decided that as much as I would love to be a literary magazine editor, poet laureate, and/or tenured professor, my gotta-have-it level of fame is that I would like Some people to have Read my Poems. Not everyone–I’m not shooting for “household name” level of fame (no, impossible for poets– “creative writing student can remember your name” level of fame?), just some people to really have read my poems and maybe liked them.

So knowing that goal is important–it lets me know it is ok for me to quit all the side hustling things that are great but that aren’t important to my ultimate goal of Some People Reading My Poems–for me this means pretty much anything that isn’t just reading poems, writing poems, and occasionally on social media linking to poems I’ve written and poems I’ve liked that others have written. So literary magazine involvement to a minimum, social media at a minimum, readings at a once-a-year.

And it, probably most importantly, lets me know what to do with my current work! I don’t need to be Mary Oliver, so a big contest isn’t really worth my money–I need to buy diapers, y’all, I’m not wasting my hard-earned diaper money on contest fees!
Renee Emerson, Poets: How famous do you need to be?

*

I recently got hold of a friend’s fresh manuscript. She is concerned about the order she’s established for the book of poems. So with this in mind, I started from page 1 and read right through. The sections were grouped with a clear idea of why. This appeals to my orderly mind. (Or maybe it’s a disorderly mind, which is why I like order.) But did the order enhance my enjoyment of the collection? I’m just not sure. Under ordinary circumstances, I’m not sure I’d notice much.

Nevertheless, because I was asked to think about order, I started wondering what the collection would read like if the distinctive poems in one section appeared dotted throughout the section. Would this give me a little thrill of insider perspective when I encountered this kind of internal rhythm of certain kinds of poems woven throughout? Maybe. Again, that is, once I settled to read from cover to cover, and if I read from cover to cover in one sitting or in sittings that were relatively close together so that that mind referenced above would remember.

So, does order matter? Maybe. Of course, if it’s a “concept” collection in which something is unfolding or the reader needs to be familiarized with how to read the poems in the collection, then certainly order concerns matter. But how many of us are writing collections like that?

I know that when I read for a contest, I taste from beginning, middle, and end. If every poem I encounter interests me, then that manuscript goes in the Maybe Yes pile. If even one poem falls short, the ms goes in the Maybe pile. If several of the poems fail to interest me, it goes in the No pile. That’s just the way it is. (For more on my experience as a first round reader, see links below.) So in this case, order doesn’t matter very much. But as an author, I want my collection to have a flow, a weave, a pulse of some sort. So in that, case order does matter, if only to me.

So I guess here it is: Does a disorderly order sink a manuscript? I don’t really think so. Can an interesting order enhance it? Yes, indeed.

Am I finding it enjoyable to think about the order of my poems in my ms? If yes, then I should go ahead and shuffle them around as long as I’m having fun. Is it a drag? I guess I wouldn’t expend too much energy, then.

But I’m enjoying shuffling this friend’s poems around, so maybe it’s worth asking someone else to look at order, if that person finds it fun.

But the bottom line is, if every poem doesn’t pull its weight, then no reordering is going to save the ms. It’s all down to the individual poem. Again.
Marilyn McCabe, The Cheese Stands Alone; or On Ordering Poems in a Manuscript

*

Dennis Casling, New and Selected Poems, edited by Julia Copus and Annie Freud (Smith/Doorstop, 2018)

I’ve just had the pleasure of reading this new collection and I wanted to share my thoughts about it on the blog. It’s an extremely moving book comprised of the reprint of Casling’s earlier Endorphin Angels, along with other, presumably later poems, written up until Casling’s death in 2016.

Dennis Casling was blind. Maybe we need to know this, maybe not. On the back cover it says: ‘The act of seeing is informed by the imagination … I spend my time looking at the invisible’ (Casling). Sometimes what he ‘sees’ is memory, other times it’s imagined situations and characters, which links up with Philip Gross’s comment: ‘His poetry is a balance of different voices’.

The different voices are more noticeable in the first section (the reprint of Endorphin Angels takes up the first half of this book). Towards the second half of the book though, there’s a sense of the poet finding a voice which is perhaps less ‘poetic’ but, for me, is more rewarding to read.

Somewhere near the middle of the collection is ‘Holding On’ which seems to mark a shift from a poet consciously writing POETRY, to a poet who has the courage to set aside the more adorned use of language for something paired back. If this sounds as if I didn’t enjoy the first half, that’s not the case; I did. The beauty of the writing is enviable, with some lyrical language and, time and again, really fresh similes that expand the image in the reader’s mind. Here, for example, from the poem ‘In the Farmyard’ (p. 13) ‘the flat milk sack warm on the hand/ like a child’s fever’. Observant and sensual details like this abound.

Casling’s poetry is concerned with darkness and silence, absence and return, and above all, how we negotiate loss.
Julie Mellor, Dennis Casling – new and selected poems

*

Things are looking up for this old bird.

The first week of classes has come and gone and they were pleasantly uneventful, blissfully routine. I continued my morning writing ritual and wrote three new poems. And today I begin the first of what will be, with luck and perseverance and a little bit of selfishness thrown in, the first of what I’m calling Long Form Fridays. (Because, you know, like the true dork I am, I love to give everything alliterative titles . . .)

Long Form Fridays are going to entail taking my butt to the Starbucks where I wrote while the kids were in camp and parking myself at a table to write for three hours. It seems like as good a place as any — far enough away from my house and its chaos, definitely far enough from the campus and ITS noise and chaos — where I can begin work again on my long-form projects: first, my Accountability Partners play, and after that, the verse play that’s officially in Title Limbo (one of the reasons I need to sit and work on it more). […]

Word on the street (hahahaha, what am I, an 80s drug dealer?) is that almost all colleges across the nation are going through this panic moment of OH MY GOD WE HAVE NO MONEY because they all ignored the fact that about 20 years ago people were having fewer babies, and now fewer 20 year olds are seeking out higher education simply because there are fewer of them, and fewer students means lower revenue from student tuition and student fees but we’re still operating as if it’s the early 2000s recession and EVERYONE and their mom wanted to go back to college because they couldn’t find jobs but now the economy’s on an upswing and people have jobs and, as A.P. pointed out, there’s mounting evidence that having a college education doesn’t really guarantee “economic empowerment” (**eyeroll**) and so everyone’s saying fuck college and so BIG DEFICITS. Also also, top heavy administrations, irresponsible spending, yadda yadda yadda.

Which means that sabbaticals and money for professional development will probably, albeit slowly, dry up and disappear. So . . . self-granted residencies like Long Form Fridays and self-imposed exiles from college service and committee nonsense (i.e. My Year of Being Bad) will become more and more important to teaching artists — and hell, run-of-the-mill academics — in higher ed.
Sarah Kain Gutowski, The Self-Granted Residency and My Year of Being Bad: First Week

*

Cast from a cheap, bad, bronze mold,
my eyes don’t line up quite right.

My eyes are from a statue.
Stone-blind. Like weeping angels,

they look at nothing, nothing,
shifting in micro-jolts. There.

Vibrating at the level
of electrons. There. Again.

My eyes are from a robot.
They rotate on a gear shaft,

jerking. They need to be oiled.
My eyes are seeing something.

I don’t know what it is, but
they look so hard at nothing.
PF Anderson, On Being Asked What Is Triggering

*

People have asked me many times while doing talks on the subject, “How do I get my book reviewed?”

The book review process can seem mysterious – but as a poetry book reviewer myself for the last fifteen years, hopefully I can take some of the mystery out of the process.

First Steps

I usually talk first about building a poetry community way before your book comes out. That means things like, joining or starting a writing group, going to other people’s book launches (and trying to learn from them), and…writing some book reviews yourself. It makes sense that you would start contributing to the literary world when you’re starting to even think about having your own book come out. If you don’t feel like putting in the work, well, how can you expect other writers to do so?

If you’re worried about your book reviewing skills, every book reviewer has had to start somewhere, even the reviewers at The New York Times Review of Books and Poetry Magazine. I started out reviewing for NewPages.com, a venue friendly to new reviewers. I recommend that you read lots of literary magazines and online review outlets to see what kind of book reviews you like and what you aspire to, style-wise. I like The Rumpus, Rain Taxi, and many of the literary magazines that run reviews. I noticed that there was a formula you can follow in many of the big review outlets. Then, send out some queries to literary magazines that take book reviews. Sometimes you even get paid!
PR for Poets – How Can I Get My Book Reviewed? – guest blog post by Jeannine Hall Gailey (Trish Hopkinson’s blog)

*

On the walk home, I thought about one of the early hurricanes we experienced here, when we were still renting a duplex in the fall of 1998. We had a close brush with hurricane Georges that went south into the Keys. The surf was the highest I’ve ever seen at Hollywood beach.

Here’s a poem that came from that walk which I still like. I look at my current poems and see how much I’ve grown as a poet. But I’m glad that poems like these still make me happy.

Clean Sweep

While other folks board
up their windows,
she opens hers wide
to the hurricane winds.

She goes to the beach.
Unlike the surfers,
she has no interest in waves
that crash against the shore.

The sand abrades her skin.
The wind sweeps into every crevice.
Behind her, transformers pop and crackle.
Energy explodes.

Even though the palms bow
to the storm, she lifts
her arms above her head,
struggles to remain standing.

That night, she sleeps
soundly. Even though the wind
howls and hoots and hammers at the walls,
she breathes clean air and dreams fresh visions.
Kristin Berkey-Abbott, Poetry Monday: “Clean Sweep”

*

Risa [Denenberg]: How did it feel to have poems published in Poetry in 2002 and then to not have your book, Acid and Tender (which was a finalist for the Charlotte Mew Prize) published until 2016 (by Headmistress Press)? Were you submitting the manuscript and getting rejections during those years? Or, did you take a hiatus from writing poetry?

Jen [Rouse]: Ha! It was the thrill of my life to have a poem next to Maxine Kumin’s in that issue of Poetry. What a trip. And, it was an even bigger thrill when I got the Headmistress email, saying my first book was accepted. Such a full heart for Headmistress! I was doing something I hate—clothes shopping—that afternoon, when I checked my phone and the message about my book was there. My sister was with me, and we totally flipped out in the store. The person helping us even gave me an extra discount on my purchase that day.

As for the years in between, I was still writing. I never stop writing. But, I had to do a lot of relationship work during that time. I moved to Iowa with my partner. I finally came out to my mom—because we would be near her in Iowa. I landed my job at Cornell College—where I have been for 15 years now and will go up for full professor this year. I gave birth to my now 13-year- old daughter, Madeline.

Risa: Did you feel that your identity as a poet was marginalized during those years?

Jen: My major mentor, the one who guest edited that issue of Poetry, rejected me when I had our child, basically treating me as though that decision was the one that would end my career as a writer. I’m a very devoted and loyal friend, and the sting of that still lingers. It wasn’t until one of my amazing poet friends—Paulette Beete—from my MFA program at American University asked me to participate in an online writing group that I really started thinking about the trajectory of my writing career, of getting better, of publishing again. A wonderful writing group. I am deeply indebted.
Anne Sexton Talks to God / an interview with poet Jen Rouse (Bekah Steimel’s blog)

*

Turns out there’s some good news about rejection I never really grasped before. I’m reading poetry for Shenandoah in earnest now and realizing rejected poems DO reach sympathetic readers, at least if you send them to well-edited magazines: the editors and staff readers themselves.

I am moved, entertained, impressed, and intrigued by far more work than Shenandoah can accept. I’m sure some journal readers are burnt-out or ego-tripping, but I’m inclined to guess magazine editors are often a good audience–smart about the field and in love with the art. You’d think I would know this by now. I’ve definitely felt that connection with certain editors who reject my work with personal notes like “admired these” or “came close.” But being on the other side makes it more vivid, and it cheers me.
Lesley Wheeler, On first looking into Shenandoah’s submissions

*

[Lana Ayers:] What is the process like creating a new & selected works? Has your relationship to the earlier poems shifted? Have you discovered anything new in the process?

[Patricia Fargnoli:] This is the one year anniversary of the publication of Hallowed: New & Selected Poems so it is a good time to reflect on the process of creating it.

I knew that I wanted to have a volume that recognized my previous books while it also included the new work I’ve written since Winter was published.

And I wanted to do it by my 80th birthday so as to recognize that scary (to me) landmark.

I contacted my previous publishers for permission to use poems from those books and Jeffrey Levine at Tupelo Press said that they wanted to publish it since they had published two of my previous books and considered me to be part of “The Tupelo Family.”

The process of putting the manuscript together was quite easy: I simply chose the best of the new poems I’d written…24 of them, and then arranged them as I would arrange the poems in any book… paying attention especially to the first and last poems but also to the arc of the them and how they connected to each other.

Choosing the poems from previous books was even easier. I knew that I wanted a representative sample from each book, but didn’t want a lot of poems from each book…so I went through each front to back, choosing poems that seemed to encompass the themes of that book and that had gotten recognition through audience appreciation and/or publication…plus those that were personal favorites.

A friend pointed out that I left many strong poems behind and I guess I did but I didn’t want the book to become too long.

What I learned was that some of my themes are lifelong themes: especially grief and loss, how to find meaning and beauty in nature and life, those consolations.

I also recognized that the poems of the first book, Necessary Light, tend to be more narrative than those of later books which tend first toward my lyrical and later to more and more meditative as I aged and began to be more concerned with issues of aging and with the search for spirituality and meaning in a world where there are no (for me at least) certain answers.

Amazingly, when I had finished the choosing and arranging, the poems from all the books seem to become a cohesive book….something that both surprised and delighted me.
Lana Ayers, Poet Patricia Fargnoli Talks Writing, Love of Words, Advice

*

It is not blood or bits of bone that resonate when I think of you.
I ripped the plastic bag with my largest car key,
when I held the ash between my palms hollering at the sky:
Float, let the stuck un-stick.
Let our bodies loosen,
teeth unclench.
It’s time we stopped existing like we’re dying around these parts,
Like we’re full of cement and sludge, of your damned ghost.
Let our smiles return, those that burned down a little
when you became
so dry.
Jennifer E. Hudgens, New Poem “Letting”

*

A couple of times a year, I search my submission spreadsheets for poems with the dubious distinction of having collected the most rejections so far. If these poems are not currently under consideration for publication, they go into a special category: Most Rejected Poems.Then I print them out and spread them on the floor of my office. One by one, I read them slowly and carefully, trying very hard not to judge them. I imagine the editors I’ve sent these poems to reading through piles of unsolicited work, looking for that intangible thing – a mood, metaphor, imagery, or narrative – that sets a poem apart. I read the poems again, those rejected babies of mine, searching for those very qualities. What are they missing? Does the poem need a tune-up? Or a rest from constant submitting?

About half the time, the poem needs a little work. I often consult Wingbeats: Exercises & Practice in Poetry, eds. Scott Wiggerman & David Meischen. I’ve saved many a poem with, for example, a better title (Susan Terris’s chapter “Twenty Ideas for Titles to Pique the Curiosity of Poetry Editors” is a favorite of mine) or by re-writing the poem in an unusual form, as in Ravi Shankar’s chapter “A Manipulated Fourteen-Line Poem.” Other books that help include Diane Lockward’s The Crafty Poet and The Poet’s Companion by Kim Addonizio and Dorianne Laux.
Erica Goss, Saving the Most-Rejected Poems

*

From time to time I have tried to embrace the stop-making-sense school of poetry. I like poems of all kinds, after all, even the absurd ones that spin a kind of magic spell over a reader, transporting us to another world. Mom’s world.

Tonight–back home–I get up at midnight, after my young-adult children have finally abandoned the living room. I turn on the TV and find a 73-minute movie called “A Poet in New York.” That title is all I have to go on, but I start the movie and discover that it is about Dylan Thomas. I think of my favorite poetry professor, not the “stop making sense one,” but a professor who liked my story-heavy, narrative poems. I think of how he adored Thomas. He could do a fair impersonation of him, with a swaggering, Welsh accent. “When I was young and easy under the apple boughs.” There is frightfully little of Thomas’s poetry in this movie. Mostly there is whiskey and sex and poor Caitlin Thomas’s mad passion for Dylan (he pronounces her name Cat-lin and writes her letters telling her how much he misses fondling her breasts). The movie does not make a lot of sense, but that, in itself, makes a kind of sense to me. Tonight it does.

Immediately after the stroke, while still in the hospital, Mom told me, “Bury me on the hill beside your father.” (My sister, hearing this exchange from the doorway, slapped her forehead and said, “Geez, I hadn’t thought of that!”) The slow slide into complete dependency—into nonsense—continues, though she no longer has to be reminded that she can’t get out of bed, or that she can’t walk. She no longer asks to be buried on the hillside.

In my mother’s non-narrative, non-linear mind, of course she can walk. She is a child, running through a field (and I picture the young Dylan Thomas running through a field of tall grass). Her brother’s horses spook and wheel and she runs after them. This is the world, too, of the poem. We want to make sense of it. But we might allow ourselves a little more rein to be in the non-sense. To take the poem’s hand, and run with it.
Bethany Reid, Stop Making Sense

*

I lay in my hammock under the trees and worried about the lanternflies. Which accomplished nothing (I think of a James Wright poem at this point…).

What was there not to despair about? So much anxiety surrounds me. Even the damned bugs. If only starlings were to take a liking to spotted lanternflies, I mused.

A butterfly went past. I looked down at the zinnias blossoming their stems off in the garden and felt pleased to count four monarchs there. It has been a good year for monarch butterflies in my yard, and green darners and other dragonflies, and hummingbirds–which used to be quite uncommon visitors here. The little brown bats are returning each dusk, recovering slowly from the decimation of white-nose virus.

The balance may seem off in many ways. But there are restorative moments.

Even if “I have wasted my life.”
Ann E. Michael, Reverie, with interruption

*

I think about bees when I drip honey on challah and apple slices. Tonight is the eve of Rosh Hashana, the Jewish new year, which always seems a more natural time for reflection and endings than in the deadness of winter. The harvest moon. The start of the school year. The end of summer, time to account for whether enough grain has been stored to get us through the inevitable winter months. Although there is argument for January 1st too, a moment when we are poised over the dark abyss, but take heart in remembering that we are going back into the light. Again. I wonder how we bear all of this repetition, so eagerly anticipated in childhood, and so foreboding as we age. Another year, expectations of ritual celebrations and foods and annual mammograms. […]

The manuscript I am working on now is titled, “why I hate to cry”. I cried yesterday listening to a radio program that spoke about social isolation (specifically, the way men–not just straight men– are groomed to avoid emotional relationships with other men, to their detriment.) This interested me, but why was I crying? I suppose I understood that I am “like that”, I avoid emotional relationships, but is it too my detriment? I really can’t say with any certainty.

This is all very complicated, as I contemplate retirement. For so many years I have spent so much of my emotional reserve in taking care of people-as-patients, I don’t seem to have much left for friendship. I wonder if I will be like one of those “men” who retire and find themselves at a loss for meaning. Who fail quickly; who die shortly. Who am I, if this is how I see myself in retirement? And yet, I am longing for the freedom to pursue the possibilities of connection. Of traveling and meeting all the poets that I only know on Facebook and Twitter. Of having meaningful conversations. Of learning to cry again without hating myself for it.

I wish each of us some sweetness in the new year. Layered into what we all fear, even know, is happening. The wrecking ball, the earthquake, the failure of democracy, the loss of habitat, the disappearance of bees, famine and war, cancer, overdoses. All of it. May it be mingled with some sweetness. Some tears. Some love.
Risa Denenberg, Sunday Morning Muse with Bitter Honey