Tag: Jim Young

Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 49

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. This week, I found a number of posts about reading—which, let’s face it, is easy to do this time of year when the nights are long and the weather not necessarily always inviting—as well as some meditations on creating, failure, struggle, Christmas, and getting through the winter.

Speaking of Christmas, be sure to check out our compendium “Best Poetry Books of 2019: Bloggers’ Choices” if you haven’t already. So many great gift ideas! Meaning, of course, things to put on our own wish lists. There’s still time.

Conversing about books with a colleague recently, I began to reflect on how readers of literature read. The topic had come up earlier in the day when several students came in for tutoring on literary-analysis papers. In addition, a student in the Education program was devising a curriculum for third-graders; the lesson focus was about “different ways of reading.” I have always loved to read, and I never spent much time considering how I go about it. It just seemed natural to me…and then I encountered academia’s approach to reading and had to reconsider the way I devoured fiction.

My coworker consumes novels the way a literature professor does. He savors passages, re-reads earlier chapters in a novel to find connections with later parts of the book, and looks up references and allusions to be sure he understands the deep context of a literary text. He asks himself questions about what he’s reading. The questions keep him reading and engaged with the words on the page.

That method is how I read poetry. But it is not how I read novels or non-fiction books; those I read at a clip, almost inhaling them, seldom stopping.

Ann E. Michael, Ways of reading

the rest of the day I read delicious solitary superb reading the way I read as a child lost

typing into the void here is my way of pushing back the intense dark of winter even though I clearly don’t have much to say

Rebecca Loudon, Pig and farm report

I went to two events featuring Alice Oswald in November, the first being her inaugural lecture as Professor of Poetry at Oxford University.  The title of the lecture was ‘The Art of Erosion’ and Oswald asked the audience to think about the “livingness” of a poem rather than its “lastingness”.  She read us poems by Thomas Wyatt and by Robert Herrick, repeating each poem at least twice, and reading slowly so that our ears absorbed the experience of the poem.

Alice Oswald also took part in a panel discussion about Anne Carson at Spike Island Arts Space in Bristol.

Some quotes from my notebook: “She wants to forbid us from knowing who she is.”  “Poetry is language that includes silence.”  “You have to read her like a bible… believe what she says..” “she’s a philosopher, a hybrid between philosophy and poetry…”

Josephine Corcoran, A quick round up of recent events

Great to be in issue 72 of The Interpreter’s House, although it’s taken me a while to get around to reading it (the virtual book pile is easy to overlook).  However, I’m not trying to push my work here – instead, I urge you to read John-Paul Burns’ poem Re-reading, a line from which forms the title of this post. Sunday is often a day that never quite wakes up – not that there’s been much time for sitting around today as we’ve been trying to get some of the Christmas shopping done. However, there’s that vague torpor which, if you allow yourself to sink into it for a while, is when you notice what normally passes you by. Read Burns’ poem and you’ll see what I mean. A poet who can draw attention to ‘the sunflower/ and its sunflower-lessness’ deserves to be read.

Julie Mellor, One of those days that never quite wakes up …

My second finished book of the month was Mary Shelley Makes a Monster by Octavia Cade (Aqueduct Press). This collection of poetry is brilliant from beginning to the end. The collection begins with Mary Shelley crafting a monster out of the remnants of her own heartbreak and sorrow. Left alone after her death, the monster goes looking for someone to fill her place, visiting other female authors through the decades — Katherine Mansfield, Virginia Woolf, Sylvia Plath, Octavia Butler, and others. It’s a beautifully moving examination of the eccentricities of authors and how monsters reflect us in the world. I got to have a fantastic conversation with Cade (barring some technical difficulties) about her work for the New Books in Poetry podcast, and hopefully I’ll be able to share it with you soon.

Andrea Blythe, Culture Consumption: November 2019

A new thing I’m going to try here. As part of the Hedgehog Press ‘Cult‘ subscription, I get free copies of their publications and we’re encouraged to write reviews of them. I’ve fallen behind, just because of life, but I’m going to try to include one or two in my blogs as often as I can. 

The first collection I read was Saudade by Nigel Kent. His poems flicker between a multitude characters, mothers of lost children, a disappointed father and son, a recovering stroke patient, the young, the old, male and female, each carefully crafted and individual. Their voices resonate, sometimes desperate, edging towards hysteria, sometimes having given up, all burrowing into the reader’s mind. I found myself immersed in each character. So impressive how he managed to step into so many shoes and give us such a strong sense of their desires and frustrations. The book is beautifully done. 

Gerry Stewart, Edging Towards a New Year

It’s the last week of classes! I’m participating in what will be a brilliant reading at 4:30 today (in Hillel on W&L’s campus), from the beautiful Literary Field Guide to Southern Appalachia! And can I say it again?–this intense term is nearly DONE!

In corners of time, I’m also screening poems for Shenandoah, both for the fall 2020 issue and for the Graybeal-Gowan Prize for Virginia writers (both categories get equal consideration for publication). I thought it might be useful for some people to know what that process looks like, and I understand it better myself than I did a year ago, when I was just beginning my tenure as poetry editor.

I log on to Submittable for a 20-30 minute block on most days during the submission month (this time, Nov 15-Dec 15) and do a quick screening, marking each new batch yes, maybe, no. The majority of subs are “maybe”: I can see some great language going on but I’m not ready to make a decision. “No” is for the poems that clearly don’t fit what Shenandoah is all about–the poems we want involve powerful material, skillfully treated. If a first reading reveals a lot of cliche, ineffective linebreaks, and a high level of predictability, I just can’t spend a lot of time on it (we’ve already received more than 600 batches of poems and I have a time-consuming OTHER job, with no course releases or extra money for this editorial labor of love). “Yes” is vanishingly rare this early in the reading period, but occasionally a poem grabs me by the throat. In that case, I wait a day or two, reread, and then ask Editor-In-Chief Beth Staples what she thinks. If we both agree that it would be tragic if some other magazine scooped the poem(s) up, I accept the work right off. I don’t accept ANYTHING without Beth’s agreement. Usually we’re on the same page, but occasionally we disagree, and then both of us have to consider: “do I need to fight for this one?”

Lesley Wheeler, Screening Shenandoah submissions

1994
I’m in my second year at college, just beginning to work in the theater department and taking some demanding lit classes.  I wear a lot of black clothing as such, and spend my time listening to Tori Amos on repeat and re-reading The Bell Jar and Plath’s letters in some attempt to guide my path as a writer.  (Basically, this describes every 20 year old English major in the history of the world.)  I live with my parent’s who I see rather infrequently given our schedules, but I am mostly in rehearsals or the library between classes.  I also keep rather late nights in front of the sole tv after my parents go to bed watching a lot of randomness and working on poems propped between the coffee table and the front of couch. 

Kristy Bowen, snapshots

Late in that long day of museum-looking, I went back through the galleries and made the two drawings shown here. It wasn’t because I thought that my drawings would have any more value or beauty than my photographs of the objects, nor because I wasn’t sure if I’d ever come back to Athens — I certainly hope to, but one never knows about the future. All drawings aren’t done for the same reasons. In this case I wanted to take the time to do this, because choosing these particular objects out of so many, and standing in front of them with the intent focus that a drawing requires, felt like a ritual act imbued with personal significance. It was a testament to relationship: not only with the objects and their anonymous makers, but with myself over time. I wanted to honor that, and so I drew.

Beth Adams, A Bronze-Age Path to Self-Discovery

Of course, holding court in a vintage tea-cup
tends to lift you from the mundane to
the exceptional, but what moves me most

is the delicacy of care, the dexterity,
the kindess even, her maker has instilled
in each stitch, dimple and bristle.

Lynne Rees, Poem:  When We Make Things

I am thinking today about the economic notion of “sunk costs.” I recently finished a project that took a lot of time and effort, and I hate it. It sucks.

I’ve spoken in this space before about how all creative people must allow themselves to make sucky work. But I need to take a minute to dwell in the rendeth-my-garment frustration of coming to the end of creating something only to be gravely disappointed. A moment of grief must be allowed. A flopping about of dismay.

But in the end, crap is crap, no matter how much time and good intentions it took to make. There’s no regaining the time and attention. It’s all part of the process. And I know I’m supposed to be focusing on appreciating the process. But, arrrghghgh.

Marilyn McCabe, What do you do with a drunken sailor; or, On Failure

Some mornings, even dark mornings, the world seems too bright.

And I feel an extra pressure to step up. To be good enough. It’s as if something is hawking, mustering, whistling a rally cry. I have no idea what for, but there is rising sense of urgency, a sharp edge of panic touching my diaphragm. The foot traffic meanders in big britches and birthright, while I rush and dodge. Half-blinded by the contrast of promise and place. There’s a necessary something just there ahead.

Ren Powell, Halving the Distance

Chimney sussurus of wind, now a whistle, now a cello. Another foot falling, ice storm to come.

Now it’s a craze of crackle-glass, and white-out: passages of lost universes in each flake’s inscrutable track.

JJS, what happens inside her: 12 2 2019

The ice is melting.
It pinks and shivers
like thin music. Black

windows in the ground
go soft and vanish.
Cobweb dewdrops glow

like moonstones in the
dark blue before dawn.

Dick Jones, Up

I wanna dress our sorrows in easy-to-shed pains.

I wanna offer landmark status to all remaining phone booths.

Wanna build bookstores on Mars, underground libraries for bookworms.

I wanna construct playgrounds in the cloudy eyes of the dying.

Rich Ferguson, Desires Written Behind the Eyelids Just Before Waking

Later, she orders Christmas presents
for the children: plush
toys that turn rapacious predators
into cuddly comfort. Her purchase
supports a fund to sustain habitat.

She orders a holiday treat for herself:
a sparkly jewelry set crafted
by a woman several continents
away. It will perfectly complement
her holiday outfit that was constructed
in a factory on an island that will sink
under the rising seas by the end of the century.

Kristin Berkey-Abbott, Poetry Wednesday: “Sustainable Habitat”

The holidays are here, and we have started celebrating early. My poet friend Kelli and her husband Rose came over for an early Christmas celebration, and we got a chance to catch up. I think writer friendships are very important so even though we live about two hours apart (give or take a ferry,) and my health sometimes throws a wrench in our plans, we try to see each other to catch up a couple of times a year. […]

There’s a little bit of magic in gathering with friends, isn’t there? It isn’t just the wine and cupcakes and sparkles (though those don’t hurt,) it’s the sharing of dreams and disappointments, hopes and doubts.

Kelli brought me a lovely ornament – a white fox in a white forest, in a little light-up snow globe. Foxes have been my favorite animal since I was very little, because, I think, they also have a little magic to them. I had a fox kit come up to me when I was a very young kid, in a field, and make extended eye contact, close enough to touch the tip of its nose. I’ve had other fox encounters since then, and they always seem to presage something good.

Even better than the ornament, Kelli took the time to look over my newest manuscript and make thoughtful suggestions. That is a real gift!

Jeannine Hall Gailey, When Wishes Come True, Holiday Celebrations with Friends, and Looking to 2020

Two strangers speaking on a busy street corner. A winter day. 

“I have brothers and sisters in this world that I don’t understand; their lives seem to be about gathering wealth and possessions. Never a word about peace, the poor in the streets, or the injustices of government.”

“If you could ask them anything, what would it be?”

“Where is your heart? Would the stars not shine if you had one less car, one less vacation, and that money went to feed some hungry souls?” 

The words hung in the air like dust. People walked past without looking at the speakers. There was the sound of traffic all around. 

The conversation seemed to be over then. The two strangers clasped hands and looked into each other’s eyes before parting.

James Lee Jobe, ‘Two strangers speaking on a busy street corner. A winter day.’

winter soup
turning the soiled pages 
of the seed catalog

Jim Young [no title]
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 48

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. This past week found poets striking seasonal notes, writing about Thanksgiving, writing about writing (of course), reading, thinking, asking the tough questions.

The past week mostly did not find poets sending me brief blurbs about their favorite poetry books of the past year for a bloggers’ best-of-2019 compendium, as I’d hoped. Possibly in part because of the aforementioned holiday. Or possibly because I’m not on Facebook to spread the message there, as I’d done in the past. But please do consider sending something along by Wednesday the 4th — instructions here.

My left hamstring singing like a piano wire. The painful high note of the soprano’s aria. On the edge of a scream. Then falling along the scale.

I take a deep breath and search for balance in the objects of the world. How equilibrium is something discovered. A subjective perspective of the way of things.

Walking this slowly, I notice the reflection in the puddle on the sidewalk. Yellow leaves hover over shadows.

Ren Powell, Settling into the Groove

the leafless hedgerow
studded with red berries
each wintry morning
my walk’s accompanied
by bittersweet

~

how dull gold husks
open to red fruit
how such slender vines
grow to strangle trees
–bittersweet

Ann E. Michael, Bittersweet

With a snap of an icy finger, we have a sprinkling of snow which is enough to lift the mood by brightening the scene. The dark, rainy days of winter are always tough as we come to this end of the year. The sun has set in Northern Finland for the next five weeks or so and even down south we feel the oppressive weight of the days getting shorter and shorter. So as much as I hate snow and, yes, I realise I’m living in the wrong place for that attitude, it does help alleviate the darkness. So far we have enough for the kids to go sledging and it’s melted off the paths and drive, so I don’t have to shovel, so that’s enough for me.

What’s that to do with poetry? It puts me in a more wintry mood than the damp leafless scenes we’ve had the past few weeks. Wendy Pratt is running a one-week winter poetry course, if anyone is looking for a short, but sweet exploration of winter. And it costs only a tenner. I’d do it, but I’m behind with the previous course, so want to focus on that. Her daily prompts whether visual, other poet’s work or just short suggestions and ideas are great jump starts for the poetic brain. 

Gerry Stewart, Short, but Sweet Steps into Winter

Not to think
the universe

into being
but simply

to breathe.

Tom Montag, Writing the Poem

Sometimes if a poem does not seem to work it’s because I have not reached far enough. In this case, it may be that I’ve reached too far — beyond the scope of the poem into another poem all together.

This is the most interesting aspect of the editing process, eyeballing one’s own utterances, meditating on the source of images, the hidden reasons behind unconscious choices of vocabulary, choices of sound. Something has appeared here on the page, blurted out of my various levels of consciousness. It interests me. It fails me.

Marilyn McCabe, Then we take Berlin; or, Editing the Heart of the Matter

A few years back, I met someone whose profession involved maximizing impact across social media platforms. He’d taken a particular interest in poets and so when I introduced myself, he immediately observed, familiar with my handles–oh, yeah, you’re a “burst” person. Apparently that refers to my tendency to post to Twitter seven times in one day, but then go quiet for two weeks; or the way that I post long, substantive posts to this blog of unique content, but I only post them once a month. I suspect that’s one of the patterns where return on investment is lowest, but it’s what feels right (or at least necessary) for now. 

Sandra Beasley, Odd & Ends & Giblets

It was good to be together.  We had 18 people gathered around the tables this year.  We saw relatives whom we hadn’t seen since 2014, along with the relatives who come every year.  It’s startling to realize how the children are racing to pre-teen/teenage years. 

Even without solid internet connectivity, we still had to wrestle the attention away from the screens.  As a child who always wanted to be left alone to read, I am torn in multiple directions.  I know that some of the parents would be fine with children’s noses in books, but screens are different.  I also understand needing to escape the family bedlam. 

For the most part, we avoided arguments, even though the grown ups come from different political persuasions, and the children fought over fair distribution of resources and over the rules.  We had the kind of good conversations that come from lots of trips to get supplies and from long hours without screens.

Kristin Berkey-Abbott, A Quick Look Back at Thanksgiving Week

As this first Thanksgiving
without you draws near,
I’m emailing my sister

and scouring the internet
for a recipe that looks
like the mango mousse

you always made. It’s a relic
of the 1950s when your marriage
was new. I don’t think

I’ve ever bought Jell-O
or canned mango before, and
I don’t own a fluted ring mold

but when my spoon slices
through creamy sun-gold yellow
it will taste for an instant

like you were in my kitchen,
like you’re at my table,
like you’re still here.

Rachel Barenblat, Recipe

Longitudes & latitudes of gratitude for my friends, family & lion-hearted daughter. Thanks for those with green thumbs & purple hearts, gravediggers & garbage collectors. Praise for bringers of incense, orchids & music. All the poets, writers & artists that have inspired me, coaxed me off the ledges of brief madnesses. Graces to the teachers & healers, zen masters & car mechanics. Mother Nature & the Mothers of Invention, animal vets & pets that say the wisest and kindest things with their eyes. Grateful for the ground under my feet & roof over my head. Indebted to the lights that haven’t burned out—in my apartment, my heart & mind. 

Rich Ferguson, Longitudes & Latitudes of Gratitude

I am getting to the age where I think of the holidays with not as much anticipation as nostalgia. Do you remember when you used to make lists for Christmas, when you looked forward to that one toy or a pony or you wished to become a cat? (That last one was me.)

As adults, we wish for different kinds of things. Good health, good friends, world peace. The car and house not breaking down at important moments. It’s all quotidian. One of the good things about being a poet is the idea that we can still have our dreams come true – we might win that one book prize, the MacArthur Genius Grant, whatever. One of my  dream journals sent me an acceptance and it was from one of my dream poetry people. I applied for one of those big things I always felt too insignificant to apply for and I am really trying not to get my hopes up (but if you want to send some good energy my way, you are welcome)! I just found out I had a poem nominated for a Pushcart (again, I try not to be cynical – hey, it could be my year).

I try not to stress out about my health which is so up and down but I want to get these two poetry books out while I can still walk with a cane and think reasonably. MS is so unpredictable. I’m pretty proactive about trying to do the best for my health, but not everything’s under my control (a fact that makes me somewhat anxious as a person who likes to be in control of things). Poetry and Health – both are out of my control, actually. The health of myself or my husband or my loved ones – we don’t really get to control the timing of when bad things happen. We don’t control when good things happen, either. It’s enough to wish, I guess.

Jeannine Hall Gailey, What Are You Wishing For? A Quiet Holiday Weekend, and Welcome to December!

Last week, I was unpacking a stack of my own  books I’d brought home from the studio, and they were so strange to me..that I have written this many books, let alone found someone to publish them, is still a little surreal sometimes. In some cases they were written over many years, in some, barely any time at all, but they seem at times massive and unruly, though I’m pretty sure even my longest book taps out considerably before 100 pages.  I couldn’t imagine what one would do with a novel.

So I polish the cheeks and send my little feed manuscript off into the world. It’s an odd little bird, and feels extra vulnerable, given the subject matter (mothers and daughters, food issues and body image).  It begins with the line “Every so often, the snake eats the spider.  The spider eats the fly.” and ends with a bunch of stolen dead birds in a fridge.   In other words, it pretty much encompasses my aesthetic to a tee.

Kristy Bowen, over and under the transom

Whale Dave says you can be yourself
at the 7-Eleven. Or at the Pentagon.
Or in a shed on the Cape. Hmmm. Maybe.
I haven’t tried any of those spots yet,
but I’ve tried 40 or so different towns,

an equal number of jobs, and it’s only
occasionally, just every once in a while,
that I’m myself. Like on a Sunday afternoon
or a Wednesday morning.
Times like that.

My radio plays “I Got You Babe”
one morning, like the guy in the movie.
I reach over to shut it off but I can’t find it.
I open my eyes to see my bed
floating through space.

Jason Crane, POEM: I Got Me Babe

Remember that winter night
in the kitchen, hot
jasmine tea poured
slowly, a dreamlike draught,
my clumsy hands
warming your porcelain skin?

Or was it the other way around?

Were you the one holding
my gaze, the spoon
stirring endlessly and in vain,
our promises rising
like steam
as we began to forget them?

Romana Iorga, Midnight Jasmine

Saturday night brought a wedding and so for me this meant dancing till the final song, singing along with Love Shack – because it is impossible not to sing along to that song, and having a great time celebrating our friends’ nuptials. By the time we were home and walked Piper, it was another post-midnight bedtime.

Sunday I woke at 9am and again, by the time I walked and fed Piper, the 9:30am HIIT class I usually attend was already starting. So I brewed my coffee and curled up on my couch with my book of poetry. Piper joined me and we spent the morning reading (highly recommend These Many Rooms by Laure-Anne Bosselaar, it’s quiet and raw and a beautiful read) and writing poems.

As someone with a strong Type A personality, routines and schedules and to-do lists are something I crave. This weekend it felt good to sit on my couch under a blanket, my dog laying beside me, a good book of poetry in my hands. It reminded me that sometimes an unexpected change in plans can be a good thing, it can lead to a great experience, a new idea, or just a wonderfully quiet morning. And these things are good for my body and soul.

Courtney LeBlanc, Routine

Yesterday, I completed reading notes for the 25th book in my 100-book project.

In addition to helping me re-learn how to sit with my feelings and get back in touch with what it is I love about writing poetry, reading that many books in three months reminded me how good poems are at teaching us about our world. Its beauty. Its violence. Possibility. Disappointment. Affection. Absence. Abundance.

Here are a few highlights of what the poetry I’ve read so far teaches us:

about grief and loss;

about race, class and imbalances of power;

about challenging the status quo;

about the horrors humans are capable of inflicting on one another;

that wherever you go there you are;

that our own stories have value;

that the places we live are characters in those stories;

how capitalism can fail to deliver;

how much tenderness there can be in our day-to-day lives;

how complicated forgiveness is;

how culture may shape us;

how women experience pregnancy and childbirth;

how humor belies our sadness; and

what war does to families and communities.

That’s just a sampling. The list of what my recent reading has taught me is MUCH longer than that, and certainly The Big List of what poetry teaches us is nearly endless.

And I am so excited to see what it will show me next.

I have made note, however, of something lacking: the first 25 books in this reading project were really light on zombies. Isn’t anyone writing zombie poems?

Carolee Bennett, “for meaning beyond this world”

Then last night I was at the newly-opened Boulevard Theatre in London’s Soho, where Live Canon had taken over the bar for the launch of four new pamphlets, one of which is mine. The other poets (Tania Hershman, Miranda Peake and Katie Griffiths) gave brilliant readings and I felt very privileged to be a part of it all.

Helen Eastman, who runs Live Canon, is always astonishing – a one-woman powerhouse who manages several large-scale projects at a time as well as a family. I’ll have what she’s having! Not only that but she gives the most generous introductions you could ever imagine. I don’t know about my fellow pamphleteers but I felt like Poet Royalty for the night.

I’d been a bit sad during the day, I think partly because all the poet friends I had invited either lived too far away or were unwell or already committed to another launch on the same night. So it was wonderful that my good (non-poet) friend Lucy was there, and then I realised there were many friendly poet faces in the audience: Jill Abram, Heather Walker, Fiona Larkin, Cheryl Moskowitz and Susannah Hart to name a few.

Robin Houghton, To London, for poetry &

I was honored to be invited to read my work at a poetry reading at Chin Music Press this weekend in celebration of the new Rose Alley Press anthology, “Footbridge over the Falls.” I haven’t been out and about much in the poetry world over the last few years, and it was nice to reconnect with some folks I hadn’t seen in a while and hear some great poetry. This is where I could ponder some truths about why I have self-isolated from that sphere over the last several years, but instead I am going to complain about the massive overcrowding at the Pike Place Market and the near-panic attack it caused me. I avoid downtown Seattle as much as possible these days, and I had forgotten how profoundly and I would say even dangerously overcrowded the Market has become. On my way to the venue, I was trying to center myself and focus on my reading, but instead I found myself getting wildly disoriented and panicked by literally having to shove myself through the teeming crowds and deal with the cacophonous racket of thousands of people crammed into too small of a space. Aren’t there fire regulations? It just seems really dangerous to me. That whole structure is extremely old and made out of wood, and I didn’t see any sprinklers or fire extinguishers. One errant spark would be very bad news.

By the time I got to the venue, I was a trembling wreck, but I managed to pull myself together and not completely decompensate in front of my fellow poets. That was a rough ride though. I’ve never been much suited to normal existence in a city, and I’m becoming less so as I get older. I totally understand why the late Mary Oliver lived out her days in an isolated cabin deep in a Florida outpost. I am not in any way comparing myself to Mary Oliver, I’m just saying that it’s looking more and more like an isolated cabin is in my future. Ah, yes…I can hear the quiet now.

Kristen McHenry, Chin Music at Chin Music, Crowd Consternation, Pixel Puttering

wait
the words are on their way
book a space 

Jim Young [no title]

It’s a challenge to walk in the Tenderloin and not become numb to the world around you. So much squalor and hopelessness. And yet you can still look up from a street corner and see a flock of birds flying out of the sunrise like messengers of the light. Could you see that light in the faces of the people living on the street too?

doorway ::
she tells off the man
who grabbed her ass

Dylan Tweney [no title]

these holidays are now for my son and me proudly and profoundly and for whomever else might be in need I bought a carful of groceries for the town’s food bank and diapers and toiletries for the homeless shelter there we have no such programs out here on the island though I know the hungry people are out here I recognize at least one red truck that has been camping (living) at the state park for months now a man and a woman I wish I could do something for them but they have built a little fortress for themselves and I understand that too the best I can do for now is look out for them keep my blue eyes on them make sure their truck and camping gear are safe when I walk into the trails I will never take anything for granted and I will never forget

I woke before dawn and threw six apples into the woods for the deer and the foxes and the rabbits then I came in and had kuchen and coffee and thawed out in front of the little propane fire later I will candy some pecans and later I just might decide to stay here in my house in my woods until January

Rebecca Loudon, Pig and farm report

– I like a cold, gray sky, wet air, and the need of a woolen scarf.

– I met a very old man today, an interesting fellow. He told me a story of being a clerk of the superior court and what happened one day. It was as if he was reliving it as he spoke.

– I feel honored when people share something of their life with me, something of their own experience as a human being. 

– Spent a little time with Emily Dickinson, after a long while. It was like visiting an old friend. 

– I saw a finch playing in the very light rain. This rain was just more than a mist, and the little finch seemed to enjoy it. 

– We rest in the love we are blessed with, we rest in the love that we help to create. 

James Lee Jobe, 8 Things – 01 Dec 2019 – Journal notes

We stay inside when it is storming
Failure to Thrive
Open Heart Surgery, 6 Months

During Kit’s hospitalizations..and even now..I’ve written more than I expected to (I expected I’d write nothing). But I find that I’ve been writing a few poems a week, and many more journals. What is strange is that I barely remember writing any of it. I remember sitting down to start the act of writing, but these poems, even looking at them published (and hopefully edited) and surely sent out, and I only vaguely remember the act of writing them. So maybe they are a little messier than I would typically allow, but maybe a little more honest too.

Renee Emerson, 3 poems in 236 Magazine

Silence boomed in her blood.  She forgot
to breathe.  She stared into the hole in time
through which he’d slipped .  She saw dark wings
that beat too fast for angels’, saw
the place where bones come from
and where bones go.  All this in a heartbeat –
wiser than scripture, swifter than light:
a destination on the other side of grief.

Dick Jones, Event Horizon
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 46

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts.

Maybe it’s just the mood I’m in, but this week, poetry bloggers seemed especially off-beat. Which isn’t to say I didn’t still find some common themes: morning meditations, anecdotes about sharing poetry in public, discussions of book covers, and appreciations for poets of unvarnished originality, among others. Enjoy.

I have been awake since 4:30 this morning listening to the rain caught in a bit of fairy magik during the quiet that happens when waking after my guts feel sorry and strained then calm it’s still dark one or two cats purring at my feet or near my side the day has not yet intruded my email goes untended the house is settled the day still out of reach shiny as a wrapped present and I read a little bit usually the online version of The Paris Review or some other journal to the blue glow of my iPad this is when my brain works at maximum flow this is the time in which I should write but more often than not I just lie in bed under my snow white comforter and bask until the owls hoo their wake up question I don’t know when exactly I became a morning person I think it must have been when the composer disbanded the orchestra and I stopped going to rehearsals every Tuesday at 7 pm then went out after to The Berkshire Grill with everyone until very late then woke too early to get to work on time I used to practice at night and write at night inside my most creative self but now that I have the forest and the sea to care for mornings have become touchstones they have become magik the fairy time in between sleep and solid wakefulness

Rebecca Loudon, The blue hour

The fish rejects my worm, the old dog does not wish to be petted by me, and my perfectly tended tomato plants yield amazingly few tomatoes. I am learning, through much trial and error, to not take life personally. Looking up, I notice that the sky is the same shade of blue as the eyes of my grandmother, Rosemund.

James Lee Jobe, ‘The fish rejects my worm, the old dog’

… a free verse of peeling paint,
the rust working in silence. 

Claudia Serea, The locked door

When you write a poem that resembles a spell, prayer, charm, curse, or blessing, are you trying to make something happen, and if so, what or how?

That’s what we talked about on the Uncanny Activisms panel I organized for the C.D. Wright Women Writers Conference last weekend (the conference as a whole was wonderful, especially the keynote by Camille Dungy). “We” from left includes Hyejung Kook, Jane Satterfield, Anna Lena Phillips Bell, Anna Maria Hong, Ashley M. Jones, and yours truly, talking with her hands again. Some brilliant tidbits I scribbled down from this brilliant cohort: Ashley remarking that all poems are spells; Anna Lena responding that spell-poems are the poemiest kind of poem, and speaking about how poems help us focus attention; Jane musing about shape-shifting through reading and writing, and how poetry can be a means to power, sometimes as an alternative when legal recourse isn’t working; Hyejung talking about poetry as an act of transformation (and about Icelandic fart curses, which I have yet to look up). I LOVED this conversation and it seems as if others did, too, which made me happy, as if we might be a small band of spellcasters setting out to fix the world through verse. If you want to join the effort, check out the amazing prompts I gathered from these writers for a pretty handout (less prettily listed below). We will be soliciting uncanny activist work for a future issue of Shenandoah, but for the moment, note that poetry subs open today (11/15-12/15), and there’s a special prize for Virginia poets: $1000 for the Graybeal-Gowan award, no entry fee, judged by Beth and me. Everything submitted will be considered for general publication as well as the prize. I’m excited to start reading but also a little worried about managing the deluge. My novel galleys just came in, and my students need lots of conferences this time of year, and I’m trying to squeeze in time to apply for book promotion opportunities…oy.

Lesley Wheeler, Uncanny paneling

restaurant 
the curry waiter sparkles
i too write poetry

Jim Young (untitled haiku)

One afternoon we were meeting with our French colleagues at L’ecole Militaire and because we have a joint project with them, we wanted to get to know each other a little bit better. We went around the room stating our name, our background, and something interesting about ourselves. When it was my turn I stated the required information and then stated that I was a published poet with a new book coming out in March 2020. Few of my US colleagues knew this and certainly none of my French colleagues did so everyone was quite surprised.

That evening, after our required social event — which had us drinking champagne and eating hors d’oeuvres while enjoying a fantastic view of the Eiffel Tower — my colleagues and I settled into the hotel bar for another drink.

My colleagues inquired about my poetry and I told them a little about my book, Beautiful & Full of Monsters, and about my poetry in general. Then someone asked a question they may have ultimately regretted: “Can you read us some of your poems?”

Never one to shy away from reading poetry, I told them I would read a poem that had been published that very day, Did Not, published by Dovecote. They fell into a hush when I started reading and then the look of surprise and on some faces – shock – stared back at me. I continued with Butcher, which was a finalist in Furious Gazelle’s 2019 Spring Writing Contest. And then I laughed and said, “I’ll read you a lighter one!” and read To My Ex Who Asked if Every Poem was About Him. By the time I finished most sat in stunned silence. Yes, I could have eased them into my poetry with poems that are a little less intense…but that’s not really what I write and I’m proud of these poems and think they’re a good representation of what I write. I mean, if you’re going to jump into poetry you may as well do it head-first.

Courtney LeBlanc, Then Paris, Always Paris

If you have anything in print, always always always carry a couple of copies of it wherever you go! Naturally the best source of sales is at poetry readings and open mic events, but I’ve sold two copies of my pamphlet and one of the audiobook version on two different train journeys. I’ve sold one at an art exhibition I attended to support a friend. Yesterday I went to a conference about how technology is being used and developed in the treatment of Type 1 diabetes. I lost my sight and have a kidney transplant as the result of diabetic complications and, still being a bit of a geek, I like to know what technological devices are currently available and might soon be available. Diabetes Cymru allocated two sighted guides to meet me from the taxi and help me to the auditorium and out again to get my lunch. As we talked before the first speaker, I mentioned that I wrote poetry … ‘Just a moment,’ I said, ‘I have a copy of my pamphlet in my bag!’ … first sale ensued :) Then while I was talking to her and the man she was at the time talking to, she told the man I wrote poetry,
‘Oh really? That’s marvellous … can I see a copy?’
Indeed you can, sir! Sale number two! Those two sales paid for my taxi ride home ;) I live in the poetry economy ;)

Giles L. Turnbull, Poetic Hangings

When I send out poems for publication I look for a trifecta of things (+2) that have made me happy in the past. Do you have a list of things that make you go through the permutations of cover letter, bio, final revisions of revised poems? The longer I do this, the longer this whole process seems to take. And that’s why when I find a magazine like December, it makes me want to share the news!

1. Most importantly, the magazine must be physically gorgeous. Call me shallow but I do judge a journal by its cover. And its font, quality of paper, layout. I want to know that a good deal of care and yes, love, went into the making of this object. There are 1,000s of literary journals publishing today. You get to choose where to send your work. The poem you perhaps worked on for years deserves the best!

2. In this world, I want my poems to also have some on-line presence. While December selects a few poems to place on their website (and mine wasn’t one of them this time) they do have a user friendly site. At the end of this post I will share the beginnings of the the two poems I published in their recent issue so you can get a sense of their taste although the journal a a whole showcases diverse talents and tastes. As an aside, The Baltimore Review publishes every poet on-line and in an annual journal. I should say, however, that their annual journal is not as elegant as December. But they also pay in gift cards!

3. Cool fellow poets. This one’s self explanatory. I love being in the same issue with friends or poets that I look up to. My poet friends and I are always trading sources and so it’s imperative to read the journal before you send them your work!

4. Payment. Yes, I want to be compensated for my work in the exchange material that our culture values. And no, $20 for a poem is not an hourly fee. I don’t believe anyone who writes poetry does it for the money. (Okay I once met a Zimbabwean poet who told me he was getting rich off his poetry but that’s a different story.) I worked on “Binocular Vision” for many years and so even a small check feels as if the world is valuing my poem a little more. I did come across a press recently that gives all their books away for free as long as the reader makes a donation to an organization of her choice or passes the book along. I like this model, too — although the funding must be all donations?

5. And this last one might be a bit more controversial. I look for a woman editor. Thank you Gianna Jacobson! Yes, gender matters. In my decades and decades of sending work to journals and being published in all 50 states, I’ve noticed that women editors tend to be more communicative, more generous in offering small but important edits, and more interested in my work. I know there are many exceptions to this statement. For example, Rick Barot at New England Review and Peter Grimes at Pembroke Magazine are two exemplary editors and people.

Susan Rich, 5 Things to Look for When Sending Out Your Work: December

The rejections keep coming, difficulties pop up when you’re least expecting them, but I’m trying to keep focused on the occasional acceptance or bit of good news. I wait for the days when the rain stops, so I can rake the carpet of leaves that still covers the lawn. I remind myself that I have a pamphlet coming out next year. I’m getting more teaching jobs, adding a new school this week. I try to make things to look forward to, I’m planning a short holiday with some friends. I keep on writing poems whenever I can. Forward momentum. 

And on the pamphlet, I’ve been looking at artwork for my cover. I have no firm ideas, I have feelings and themes, but staring at Pixabay isn’t getting me anywhere. I’ve also contacted a photographer about getting my author photo done. Ahh, too real. 

Gerry Stewart, The Ups and Downs of Writing Life

Diane [Lockward]: I recall that the first image we seriously considered for the cover of Sugar Fix was a single slice of red velvet cake on a plate floating in air. It initially seemed perfect for your book which several times references red velvet cake. We both loved that image. I enhanced the colors, then muted them. I worked up several sample covers. You did too, but we ended up not using the image. Tell us why we had to abandon it.

Kory [Wells]: I am quite taken with the work of Charles Keiger, and as you say, his red velvet cake was so tempting to use. On his blog he even says that the painting to him is about nostalgia and longing, two themes that  occur in Sugar Fix. Ultimately, though, the image didn’t pass my gut check. Although some of the poems in the book turn toward darkness, the painting felt too moody for the collection as a whole. Some might consider this a poor aesthetic, but I wanted a cover that simply made me feel happy when I looked at it.

Diane: I recall that you next zeroed in on the art of Janet Hill. What attracted you to her work?

Kory: I’d discovered Janet Hill not too long ago when I was adding images to my Pinterest board “The Art of Reading,” paintings that show people engaged with books. To me, much of Hill’s work is a delightful combination of romantic and quirky; they feel vintage and yet contemporary. Her paintings have a charm that seems very Southern (although Hill lives in Ontario) and are at times darkly comic. I like to think all those same descriptions apply to Sugar Fix.

Diane Lockward, Finding the Right Cover Art for Your Poetry Book

I have been settling back into press duties after the upheaval, and despite occasionally not being able to find things–tape, the staples, covers for books in progress–shuffled during the move, things are going well. […]

I am still battling printers, of which I am less than happy with the cover finishes, and am shopping for a good color laser with a smooth finish-I have my eye on a Canon ImageClass model that seems to be more what I’m looking for (the Brother is good for insides, but the color seems a little chalkier than I like.).  Meanwhile, I have a stock of the last covers printed on the Lexmark for the latest titles before I tossed it and the little Epson inkjet, which works for some things and has a scanner/copier if I need it. But I need the new probably within the next week as I run out.

I am also just happier to be working at a more efficient, but still more leisurely pace than my studio time used to allow. Now, if I can’t finish something before I go to bed, it’s easy to make time in the morning, and not lose a whole day until I can get back to it. So much progress was stalled by limited time, by stops and starts, and while it took me a long time to admit that I really had to do what I had to do, I am certain it was the best decision. The stranglehold of never having sufficient time in the workspace that I’ve felt for the last 12 years has eased a bit, and already I feel like I am the better for it. 

Kristy Bowen, dgp notes | november edition

It took some time for me to figure out how I wanted to capture my thoughts on what I’m reading as part of my 100 books in 12 months project. Knowing I wouldn’t be able to slow down enough to write formal reviews, I decided to use a reading notes format where I keep a list of thoughts as I read, quote some lines that knock my socks off and include links to reviews and poems from each book.

While doing that for Donna Vorreyer’s Every Love Story Is an Apocalypse Story, I stumbled upon her non-traditional book review of Amorak Huey’s Boom Box.

The review is a sketch. That’s it. That’s the whole thing.

And I loved it.

She tells us a lot about the book with quick impressions and short quotes and, of course, an image that aligns with the book’s title. She sketched a cassette tape along with the folded, detailed card stock inserts that — back in *my* day — served as “album” cover for the cassette… and lyrics, if we were lucky.

Donna’s nontraditional book review delighted me, as I was already curious about inventive ways to respond to the books we read. I had written a nontraditional review to an essay collection a couple years back, but I had no idea what else was out there. With this blog post, I attempt to correct that.

Carolee Bennett, book reviews with unexpected style

This week, I’m reflecting on Kyna Leski‘s marvelous little book The Storm of Creativity. How to describe this text? It’s written by someone who teaches architecture as well as designs spaces, and who reads across disciplines and thinks both deeply and widely. It is not a how-to book; more of a how-it-works book. I learned of this book through Deborah Barlow (in 2015!) and finally have gotten around to reading it.

Leski uses the analogy of a storm system, from moisture in the ground or bodies of water through the gathering of the storm organizing itself into, say, a hurricane, and takes the process all the way through to dissipation (a kind of “death”) and restarting the cycle, when what we have is new again–and will not be exactly the same next time. […]

Here’s the thing: she captures the process as I myself experience it. I keep re-reading sections of this book and nodding in recognition. I am not the sort of person who spends much time analyzing creativity; I prefer to read how other people analyze the process and decide whether their reflections or analyses dovetail with my own. In this case, yes. For me, anyway, the creative process organizes like a storm.

The gathering part of the work coincides with that aspect of writing that I call observing. Gathering is a good word for it (Leski uses denotations and etymology as she defines her process, so that appeals to me, too). There’s a phrase my relatives used referring to someone daydreaming or loafing reflectively: “woolgathering.” Despite this interesting inquiry into the appropriateness of the phrase to mean loafing or daydreaming, in our family it meant daydreaming. I used to think the phrase referred to watching clouds–one of my favorite activities as a child–because clouds often look like wool. At any rate, woolgathering’s essential to my writing practice.

And sometimes, those clouds collect together, and create a storm.

Ann E. Michael, Storms

The poem that I was somewhat more satisfied with last week underwent another procedure this weekend, and is again transformed. It’s interesting what time and distance will do in providing solutions to tricky poems. One of my co-workers recently ask me how my poetry was going, as she knows I have a reading coming up soon, and I told her that it was going okay, but that writing poems isn’t the sort of thing that you can do effectively on a strict production schedule. I’m finally starting to accept that poems evolve, ever so slowly and in their own time, and pushing the process is almost never effective. Part of the strain for me is this entirely self-created pressure to ensure that I have something “new” to read, because I feel like such a failure for not have written much poetry over the last few years. But I am trying to let go and trust in the poems to reveal what they need to bloom.

Kristen McHenry, I Miss Cats, Anatomy of A Poem, Puttin’ Some Stank on It

I hear the tick of drips off my metal roof onto the deck, somewhere a low hum of a machine in the neighborhood, far off a rumble of a truck just discernible, the leaves are moving outside my window but I can’t hear their titter in here. I hear the steady jangle of my tinnitus in one ear. Now the truck is gone. Now I hear the dehumidifier in the basement kick in. More drip drip from the roof. This sounds like noise on the page, but feels like quiet to me. Most of the year my neighborhood is blessedly quiet. […]

I wonder if this is why I was drawn to poetry: the importance of silence in it, the tension between sound and silence that often resolves in a sound spoken into and reverberating in silence, and then dying away, leaving silence (or the post-poem moo) once again, replacing the noisy self, at least for a moment.

I need silence. It’s a visceral thing sometimes. […]

I’ve been experimenting in my poetry with placing white on the page among words. We had an interesting conversation about this at my recent writing retreat — how do you decide where the space goes in such a setting? Natural pauses, deliberate choices to withhold information or make the reader wait, and some instinct about what words or phrases could use the kind of emphasis that silence around them can provide was our best guess at an equation for such decisionmaking.

Sometimes I fear it makes the poem look too self-conscious on the page. Ooh, look at me all spread out here. But mostly I like it. It eases me somehow to allow some light and space into these poems I’ve been working on, and even imposing them on old poems in revision. Nothing worse than a poem that barks at you from the page, incessant, tied to a pole in the backyard.

Marilyn McCabe, So Quiet in Here; or, In Praise of Silence in Poetry

I was at a poetry reading at the The Albert Poets on Thursday. It was a room full of people who loved Mark Hinchcliffe. Mark had been in intensive care for days, surgeons fighting for his life after his liver transplant. At some point in the evening, his wife texted his close friend, Stephanie Bowgett, to say that Mark had died. At the end of the evening, Steph gave us the news. We’d all lost someone important to us, and something irreplaceable. I’ve known Mark for six years or so, sharing so many Monday evening workshops, listening to yet another of his remarkable poems arrive in the world. I guess most of you won’t know his work. But Ted Hughes did. That’s recommendation enough, I think. […]

This is what another of the Albert Poets, Carola Luther, wrote about Mark’s work. She puts it better than I can.

“Mark Hinchcliffe writes love poems, praise poems and poems of lamentation and devotion…these are not ironic poems. They weave myth into both the dark and the everyday with a seriousness and attention that could be prayer”

The phrase that really nails it for me is these are not ironic poems. Nor are they naive or innocent or playful, though they might be any or all of these things. I said at the start there are things I just don’t ‘get’ and I should end by saying there are things I think I ‘get’ but can’t explain. I just know that I keep re-reading these poems because they keep puzzling me.

I find it unbelievable that there will be no more of them. But those cats , those hares, The Green Man, the mermaids and foxes are out there, now, and always will be. A boy who looks for aeroplanes on the moors is out there too. You may meet him out on the cottongrass millstone Pennines. Give him good day.

John Foggin, Out of the ordinary.

Anne Barngrover wrote in her debut book, with simply smashing imagery. “I feel like a wasps nest nailed to a door, all the stingers dried to rose thorns.”  This was another Mary (knows how to pick them) Biddinger find. The book, Brazen Creature.

Loving, losing,  and all that happens in-between in these poems. Each is bold and unapologetic. Each is brazen. It could be in some ways a feminist manifesto. 

Metaphor is not lost on the revenge of the brown recluse. “Our hearts are nothing//but lies and lilac bruises. Old friend, we both want/each other dead tonight.” This collection of poems was like an emotional workout. I want more of her work to read!

Michael Allyn Wells, Confession Tuesday: My 2019 Poet Crush Six Pack

I posted a post on Facebook about coming to the realization, as I was doing poetry submissions of my poems and books, that perhaps my poetry is not going to be for everyone. Here’s what I wrote:

“Sometimes when I’m doing poetry submissions I get insight into why not everyone wants to publish my poetry: it’s funny, but in a dark way; the worldview is pretty depressing; it’s environmental, but not in a warm-and-fuzzy way, more in a mother-nature-is-a-scary-avenging angel way. It’s feminist, but also not in an easy, “dancing in a circle celebrating menses” way. I mean, I write love poems, but not a ton. Anyway, I recognize I’m not an easy, feel-good poet. I’m not a Netflix holiday romantic comedy. I get it. I’m the indie movie your film friend recommended and then you’re like “Why did she make me see that?” But still, I’ll probably try knocking at your door, poetry editors…”

When Sylvia Plath complained in her letters and journals about not getting publishing enough or not getting recognition, she doesn’t seem to realize her writing might be off-putting to the conservative patriarchal poetry world that was on the rise in her lifetime – her husband was being actively encouraged by T.S. Eliot for goodness’ sake, while she could barely get a mentor. Virginia Woolf, before Sylvia, suffered because she lacked getting enough critical attention for her ground-breaking fiction – but her style is just now being recognized as genius and ground-breaking. I just read in a British magazine that Daphne du Maurier – one of my favorite gothic fiction writers from my childhood – is regaining a reputation as a fine literary writer after years as being denigrated as a writer of trashy horror/romances and PhD students are newly studying her archives. I read an article about Margaret Atwood where she talked about self-publishing her first book of poetry and  hand-selling it to bookstores; she didn’t write The Handmaid’s Tale, which shot her to fame, until she was in her forties – my age, in fact. I mean, my writer heroines – such as they are, a motley crew – have never really had an easy time of it, especially early, even if they had more success than I’ve had in my lifetime yet. So I’ve got to remember that my writer heroines struggled and suffered and continued to write and send out their work even in an unfriendly hour, at an unfriendly time.  I will continue to write what I write and send it out into the world, hoping it will find its audience.

Jeannine Hall Gailey, Notes from November, How to Cheer Yourself Up and Stave Off SAD, and Surviving Being an Idiosyncratic Woman Writer

This morning, I wrote a poem.  I’d like to say that I wrote a poem, as I do every morning.  But I don’t do that every morning.  I wonder if I would wrest more meaning from life if I did write a poem every morning.  I suspect I would have a similar reaction as I do to liturgical seasons.  Some of my poetry writing mornings would feel important and significant, but many more would leave me wondering about the larger meaning of it all and reflecting on drudgery.

This morning I baked the gluten free communion bread.  It needs to be made on the day of the worship service because of the nature of gluten free bread; I know from experience that it doesn’t freeze well.  As I stirred together the ingredients, this line came to me:  On the last Sunday of Ordinary Time, I bake the communion bread.  Once I got the bread in the oven, I sat down to write.

I played with the line–should it be bake or create?  The idea of Hildegard of Bingen bubbled up in my brain–a creative woman of her time, a woman I see as subversive, although I don’t know that she saw herself that way.  I wanted to hear some of her music, and we live in a wonderful age where the Internet can provide.  I spent some time writing my poem and listening to this group sing the medieval music of Hildegard of Bingen.

I was struck by the woman with the green swoosh in her auburn hair and the chunky boots visible from the slit of her formal gown singing the music written by a monastic woman centuries earlier.  What would Hildegard have said?

I like to think of Hildegard of Bingen smiling at the many ways we’ve seized her legacy and taken up her mantle.  Some of us do that by writing, the way that she did.  Some of us have seized her mantle by singing the music that she left us.  Some of us tend our gardens, the ones we grow for food, the ones we grow for herbs, the ones we grow for the beauty of the flowers, the interior gardens that we may or may not share.  Some of us take on the Hildegard’s mantle when we scold bishops and legislators and remind them of the obligation of creating a more just society.  We wear Hildegard’s mantle as we care for the next generations, some of whom we’re related to biologically, some of whom we will never meet.

Kristin Berkey-Abbott, The Last Sunday in Ordinary Time: Hildegard of Bingen’s Mantle

Into the lives of the wealthy and weary, the healthy and homeless, buddhists, brawlers, and churchgoers with shoes spit-shined to Sunday. Into the hearts of families and friends, caretakers and gravediggers, the warring, wounded, and those rolling along on rackety wheels of glad. Into the eyes of dogs and drunks, landlords and store clerks, the old, infirm, and young lovers loud and lavish at the borderlands of yes—the new glow of this lighted living sun.

Rich Ferguson, Another Day in L.A.
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 45

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. This week, the poetry blogosphere was relatively quiet, but I still found cold hummingbirds, jack-o’-lantern bird feeders, Twitter cravings, mackerel skies, Real Housewives, vending machines, beheadings, strength-training benefits, cat hairs, full-length manuscripts, freshly laundered towels, a goalkeeper’s hands, Russian tank tracks, social difficulties, broken windows, and fallen figs.

The hummingbirds have gotten very flutterly lately, in the cold, dancing around the last flowers and available hummingbird feeders. The hummingbirds stubbornly see out the cold season here and in a way we manage the same way. I am writing, editing, and sending out work trying to stay warm in a cold season, drinking cider and listening to my sad music and reading novels into the night (I have terrible insomnia during time-change season). What drives us to survive? To try to create beauty, or even just to notice beauty, in a world that often seems to try to trample it, or ignore it? We wait for magic. We might even create our own.

Jeannine Hall Gailey, New Poems in Sycorax Review, November Gloom, and Waiting for Magic

We’ve turned our Halloween pumpkin into a bird feeder and the kids, cats and I are loving it. We’ve even had a woodpecker come to visit among the normal songbirds. It was cold and snowy for the first part of the week, just a dusting, too much for my liking. Now it’s rainy, silver drops hanging off the rowan berries. More my idea of autumn. I’m glad to have a few mornings to scribble at my kitchen table and watch the birds with the cat trying to sleep on my computer.

Gerry Stewart, An Adventure Begins

I am currently at a 10-day writing residency and have promised myself that for 7 of those days, I would completely stay off of social media and any website that connects me to the outside world (like the news).

Yesterday, I found myself scrolling Instagram for no reason, just habit. Just–oh, there’s my phone, let me pick it up, open and app and scroll. No thought, just action.

Today I woke up and wanted to check Twitter. But I didn’t.

I realize, I do feel a loss. My brain wants its trending stories. It wants to see who is saying what.

But there’s this other gain, since I have NOTHING to check, I have so much time. Today I thought–what do I need to do? Write a poem? Revise a poem? Organize my work? Submit? Write letters to friends? Go back to bed?

I realize how much of my time ends up on social media, even if I’m not there all day, I realize how much I pick up my phone to check, I don’t keep notifications on, so I open the app several times a day–that adds up.

I guess I didn’t notice until I’m sitting her after being up for 5 minutes saying, “Okay, what do I do now?” 

So when I decided, “I’ll write a blog to gather my thoughts.” I realize my last blog post is from June. When I have Twitter or Facebook, what I would have normally (well, in the days pre-social media 2001-2009ish) I would have written in a blog or a journal. But I had nothing to blog, all my stories and thoughts went out as soundbites on Twitter or Instagram or Facebook.

I remember hearing Terrance Hayes say he’s not on Twitter because he was concerned he’d tweet out great lines for a poem instead of using them *in* a poem.

Now that I have no place to do that, a blog feels like a good way to document the time (and the weird thing is, whether anyone reads this or not). I realize how much of my writing is me just wanting to get thoughts out of my head, on paper, so I can look at them, size them up.

But I do miss Twitter.

Kelli Russell Agodon, Writing Residency: Day 1 – Social Media Detox

In the northwest sky this morning, mackerel-sky and mares’ tail clouds like fins, wispy and broken up against the blue, brought to mind the book I’m reading: Robert Macfarlane’s Landmarks. In this book, essays on place and environment interweave with “word hoards” or mini-dictionaries, a rich lexicon of regional terms that describe specific observations concerning weather, geographical formations, topology, the sea, plants, moorlands, mountains.
 
Macfarlane’s word hoard draws mostly from the British Isles, but his essays–in this collection, many are based on books he has loved–assert that naming is noticing, noticing is loving, and loving means preserving or saving. “Language deficit leads to attention deficit,” he says. He’s not incorrect. My own experience concurs; for the past few years, I have had less time and energy to walk my meadow and take the two-mile amble along the back roads of our neighborhood, and as a result, my written expression feels both a bit contracted and less precise. I need to get back to the land.

Ann E. Michael, Bro-ken

I find the sheer volume of contemporary culture references in this book [There Are More Beautiful Things Than Beyoncé by Morgan Parker] to be soooooo satisfying. I guess some people disagree, but Parker has a terrific answer. Here’s what she says in an interview for The Paris Review on the pop culture references, Parker says, “It would feel false if I didn’t include all those things that really shape contemporary life. … I don’t really see what is so difficult for folks to grasp about it, but I think it’s a debate wrapped up in class and race, and what constitutes high and low art. I’m using pop references, but not in a light or gimmicky way. The poems are exploring and troubling something. My references may look different from someone else’s, but in my life I experience the Real Housewives more than I experience Greek myth. These are my contemporary myths and symbols.” I think this also speaks to the accessibility of the work: for a majority of people, Beyoncé and Lady Gaga are more recognizable references than Hera and Demeter.

Carolee Bennett, “the gloom of being where you are meant to be”

because otherwise it’s a round Formica table
& the clicks and beeps from the alarm system
& the vending machines
a slowly shrinking horizon of possibility
& the monstrous white shape of the future

I read to remember myself
(a boss walks by, says “Call me Ishmael”)

Jason Crane, POEM: Moby-Dick in the break room

Winner of the Walt Whitman Award, Emily Skaja’s Brute is a stunning collection of poetry that navigates the dark corridors found at the end of an abusive relationship. “Everyone if we’re going to talk about love please we have to talk about violence,” writes Skaja in the poem “remarkable the litter of birds.” She indeed talks about the intersections of both love and violence, evoking a range of emotional experiences ranging from sorrow and loss to rage, guilt, hope, self discovery, and reinvention.

One of the things I love about this collection is the way the poems reflect the present moment — ripe of cell phones, social media, and technologies that shift the way humans interact with each other, while maintaining a mythic quality, with the speaker feeling like a character struggling to survive in a surreal fairy tale world just waiting to eat her up. Gorgeous work from Skaja, who I recently interviewed for the New Books in Poetry podcast. I need to finish preparing the episode and hopefully I’ll be able to share it soon. 

Another great collection of poetry that I read this month was Head by Christine Kanownik. Drawn in by the gorgeous cover, I thoroughly enjoyed reading this collection of poems centered around beheadings — whether saints, royalty, or commoners throughout history.  She uses a mixture of of forms to explore the nature of power and the meaning of death.

Andrea Blythe, Culture Consumption: October 2019

In more pleasant news, I retooled the poem I mentioned last week that I wasn’t happy with, and I am happier with it now. There’s still more work to do, but it’s getting there. The last few lines are not hitting the exact note I want them to, but maybe the answer will come to me in a dream. It was interesting to discover in the editing process that the problem was simply that I wasn’t telling the full truth in the poem. It showed. Once I got down to what was true, the poem came into focus and had more energy and dynamic force. I also started a new poem along the same theme. I don’t want to be prematurely optimistic, but I think there is a possibility that I have enough material in me for a new chapbook. That makes me excited, because I haven’t had that feeling in a very long time. Poetry is making it’s way back to me, and this seems to be directly tied in to the strength training. Quite unexpectedly, the grueling but relatively straightforward act of strengthening my body has opened up a whole new avenue of creative thought.

Kristen McHenry, Map App Stalking, Truth in Poetry, The Blood of My Foes

fur finally
deciding to leave the cat
for the sunshine

Jim Young [untitled haiku]

I realized last week that I have not one, not two, but three full-length manuscripts currently in a completed or just shy of completed state. feed is pretty submission ready, but the other two, dark country and animal, vegetable, monster need a little arranging and proofing for typos.  I am going to submit at least one to presses I’ve worked with before, but the other two, I’m not sure. Overwhelmingly, they show how productive I’ve been over the past two years, during which most of them were written.  […]

I sometimes wonder if compiling full-length books is something I need to even do, since my work as writer is so tied up in the visual, and the smaller issues probably give a better idea of the work as it was initially intended. But I like the weightyness of a volume, how it almost feels like an encapsulation of various projects in a given span of time and theme. And perhaps reach in terms of working with publishers, getting in bookstores or libraries, the things that full-lengths make easier than if you are just doing little books on your own. And the poems can stand on their own without the visuals just fine, they are just an added bonus in their initial incarnation.

Kristy Bowen, books seeking homes

– When the laundry is all done, even the towels.

– Reading the poems of John Haines from fifty years ago.

– Suddenly remember two homeless people that froze to death in the snow in 1983.

– Learning how to finally be comfortable in your own skin. In your sixties.

James Lee Jobe, Journal 08 Nov 2019 – ten things

His goalkeeper’s hands beat a soft
tattoo against his knee, When he remembers
he clasps them like a handshake, or a prayer.
In jungle once, he came upon a pal
pinioned to a tree, opened up from throat to groin,
his piled entrails at his feet, a black buzz of flies.
I’ve never told our Vera that.  I tidy round his neck.
I’ll shake the teatowel outside on the step,
watch the hair blow, like dandelion clocks.
His hands have freed themselves.
He has forgotten them.

John Foggin, Remembrance Sunday

This is the real dance;
we stitch its paces
over the Kaiser’s cobbles,
in between the Weimar tramlines,
through Hitler’s broken archways, empty squares,
up and down the grim lattices
of Russian tanktracks.
Laughing, we invade the territory
inside each other’s arms.

Dick Jones, THE WALL IS DOWN!

It’s miraculous that the world continues spinning around the sun. That trees still accept our carbon dioxide as currency, and provide dividends of oxygen in return. It’s phenomenal that drivers stop at red lights, that we don’t rush onward into one great fender-bending, humanity-ending, billion-car pileup. It’s astonishing that we have smart phones, smart homes, robotics, biometrics, and super drones. It’s spectacular that we have all these things, and more, yet still sometimes have difficulties approaching one another, and simply saying: “Hello.”

Rich Ferguson, Miraculous, Phenomenal, Spectacular

A tour guide to pain stands
in the middle of the gray street

as pieces of windows scatter
in slow motion, and then reform,

over and over again. We
watch, mesmerized, as flames flicker

in the glass before us, the glass
shards on the ground, fragments floating

back into place, outlined with gold,
an ephemeral kintsugi

P.F. Anderson, On Broken Glass

We walk down the path with our children.
Dust rises behind us like smoke. 

The ground is littered with figs:
small purple bodies
burst open to show their red seeds. 

Foreignness blooms quietly inside their wounds.

Romana Iorga, The Fig Tree
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 43

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts. This week: “discontent, joy, / resignation, rekindling” to quote Lynne Rees, one of two newcomers to the digest (the other being Robin Houghton). I was happy to find some Halloweenish posts in my feed, but disappointed not to find any about Diwali, the Hindu festival of lights which is being celebrated right now in the north London neighborhood where I’m staying with lots of things that go explody-boom. I guess that falls under “rekindling.”

Standing by the river Neva, wanting to compose poetry in St Petersburg, I couldn’t hear beyond the lines of great poets – Akhmatova, Blok, Tsvetaeva, Mandelstam. History dominates voice, especially in Russia. The Revolution, Stalin’s terrors, the siege, all produced that great heroic resistance. We’re not in the same history. We’re in a vertiginous whirl, a global mess – oy! We stare, fixated, single-minded, stuck in one voice, while the river rushes in its own voices.

I like a multiplicity of voices, both full of critique and full of observation of humble objects that affirm our reality. So in Russia, who will write about young designers, scattering autumn leaves in its planked floor to show their rough hemp and peasant dresses? A hipster cafe by the canal, millet with pumpkin and pumpkin seeds? Restaurants that serve persimmon and yuzu over tuna.

Jill Pearlman, Petersburg’s Fresh Waters

I’ve stopped listening to the urgent voices of my friends discussing
The news that I brought from Paris
On both sides of the train close by or along the banks of
The distant valley
The forest is there watching me unsettling me enticing me like
a mummy’s mask
I watch back
Never the flicker of an eye.

Some poems by Blaise Cendrars translated by Dick Jones

Deaf Republic swiftly vacillates between death/violence to sex/love and back again. This is jarring both in a good way and a bad way: the love poems save us from the war in the streets; the war poems devastate us more on account of understanding the love that’s being stolen/interrupted. It continues. The brutality accumulates. [Ilya] Kaminsky succeeds in making everything feel precarious. There is horror everywhere. It exists alongside personal tenderness. These poems create a fear in me, not of a world that’s possible but of a world that is. […]

There are several very powerful devices deployed in the collection, including the illustrations of signs (as in sign language), portrayal of the town/setting as a character (“Vasenka watches us watch…”) and the presence of puppets (not a metaphor). It took me a while to “get” the puppets. Having just finished the collection this evening, I am still absorbing all of it, but at the moment, for me, the puppets serve as a foil for the humans. Kaminsky practices great restraint in using this device. It could easily be overdone. Instead, the puppets are there as echoes of humans. Their simple presence (which isn’t overstated at all) sets up an inherent contrast with humans. And yet, humans can also be silent and lack volition. And this can be self-preservation. And we can hate them for it.

Carolee Bennett, “why did you allow all this?”

As we close in on the height of spooky season, it seems appropriate that some of the exquisite damage series is getting a little bit of airplay (see some of it here, here, and here.) It being devoted most singularly to a certain kind of middle class fear and anxiety as glimpsed through horror movies. In some ways, it was a project I was mostly just futzing around with last spring, that is, until we went to the slasher convention at DePaul and something started take shape during the keynote speech–a comment about how, as people became more and more securely middle class, they started to seek out ways to get an adrenaline rush from the sensation of being unsafe.  I imagine, if you were starving, at war, or much less comfortable, further scaring yourself wouldn’t be at the top of the list.   You see it in the golden age of gothic novels–in the audience of predominantly women, predominantly secure in their homes. In the late 70’s, surely that middle class comfort level spawned slasher movies.  You, there, in your house, while outside, any number of killers could be watching you from the bushes outside. Growing up in the 80’s was both a time of immense freedom and immense fear.  Yes, we could disappear for hours from our parents and come back at dusk, but everyone warned us of stranger danger, of the man in the creepy white van. When I was a pre-teen, there was a very high profile case of a teenager who’d gone missing from a park, her face plastered on billboards all over the area. A year or so later, they found her body in a forest preserve.

Kristy Bowen, middle class horror & american anxiety

Are there words
to stitch up the cuts?
If I hold a pebble
against my gum, will it
put down roots, and bud?

PF Anderson, (untitled)

But this taught me that it is ok for me to say I can’t do this right now, and it is ok for me Not to cry. When I am at the hospital, I am there to listen, to learn, to talk to doctors and understand so I can make smart choices for my daughter. It isn’t the place for weeping, not at all moments anyway. If I don’t want to weep that day, they’ve got no place prying at me until they find the right phrase that makes me weep. It is ok for me to preserve whatever walls I need there so that I can best advocate for my daughter.

I also learned to never, ever read poetry to social workers.

Renee Emerson, I can’t

Autumn plays us like this: discontent, joy,
resignation, rekindling. While darkness moves
closer each day we find comfort in the season’s shift:
a palette of bronze leaves, wood-smoke, a coin
found in the pocket of a heavy coat.

Lynne Rees, Rewards

– Here, around Sacramento, California, it’s a time for poets to grieve; we lost three from our ranks, all in a row. James Moose, Jane Blue, and Dennis Schmitz. Fine poets, fine people. They will be missed.

– I live in Davis, 11 miles west of downtown Sacramento. In our local newspaper, The Davis Enterprise, I do a monthly feature, a poem of the month. The mayor wanted me to do this as part of being the poet laureate. This month I am featuring a poem by James Moose on loss.

– As a young man I spent some time as a hermit. An urban hermit, but a hermit nonetheless. I would go to a new city, rent a small room, and keep to myself. It was very monk-like (monkish?), my existence. What did I do? Study poetry, mostly. Oh, I’d have a job, and go out into the world, but I kept to myself as much as I could. I was alone, but I was not lonely. I liked it.

– A number of older family members died while I was an urban hermit. Sometimes it would be months before I found out.

– Through the window above my desk I can see the leaves changing color. Why does autumn feel like Death to me? Is it the leaves?

James Lee Jobe, journal – 21 Oct 2019

At a Halloween fair on Saturday, my daughter and I rapped drumbeats in unison as we strolled amidst the ghosts and skeletons—a downbeat to diamond our uplift, an upbeat to sapphire our sweet and lows. At one point, a stranger remarked at the sturdiness of my daughter’s voice and her sense of rhythm. It heartens me that my baby girl and I can guide one another towards ever more lively and luminous music, even as strange spirits and boneyards surround us. A downbeat to diamond our uplift, an upbeat to sapphire our sweet and lows.

Rich Ferguson, Drumbeats to Banish the Boneyard Blues

The Amazing Pumpkin Carve, which I described in The Amazing Pumpkin Carve 2019, part 1, has come and gone. Omigosh, those huge sculpted pumpkins!  :- D

It was an honor, indeed, to have had a small part in the success of this big annual event. The Hopewell Valley Arts Council, who ran it, generously allowed me to place ten of my micro-poem signs around the fairgrounds for the five-day duration of the fall festival’s run. [Click through for photos of the signs.]

Bill Waters, The Amazing Pumpkin Carve 2019, part 2

autumn
leaves littering
Twitter

Jim Young [untitled haiku]

It’s been said plenty of times before. Social media (and the internet long before social media) is a goldfish bowl of performative behaviour. I think those of us who spend a lot of time on it have a responsibility to remember that. There was a time when out-and-out self-promotion seemed to take over Facebook and Twitter (which was a big reason why I left Facebook some years ago). The rule of ‘Twitizenship’ now seems to be: only promote one’s own successes if at the same time you shout about everyone/anyone else’s.

And failures? Someone once said they hated the way some people filled up Facebook with their bad news, which no-one wants to be dragged down by. And yet, whenever I talk about my many poetry rejections on this blog, it gets the most positive comments. It would certainly be refreshing to see the odd ‘for the tenth year running I came nowhere in the Bridport’ on Twitter. But who wants to be accused of sour grapes?

I just wish we could a) talk more realistically (and more often) about the fact that the vast majority of poems don’t win prizes, as this may help us all to put things in perspective, b) worry a little less about keeping up a saintly/sanitised appearance on social media, and c) put the brakes on the ‘congratulations’ circulars: by all means send a DM, but no-one needs to be congratulated publicly/anonymously on Twitter for being on a shortlist, in my humble opinion. Am I making a mountain out of a molehill? Am I just being grumpy?

Robin Houghton, Let’s talk about failures…

I’m also very happy to share the list of “Notable Poems,” the silver medalists in this strange Olympian struggle. My first brush with the BCP [Best Canadian Poetry] series was when a poem of mine was “Noted” in the 2011 edition. I flipped a copy open in a bookstore and was floored. The Other Side of Ourselves had come out earlier that year and in the final edits I’d removed the “Noted” poem from the manuscript! So I felt ridiculous and afloat all at once. I was only beginning to learn the vagaries of literary awards and lists of “Bests”: how little one should let these things get to them (be they excluded or included), and how impossible it is to fully manage that.

The 2011 guest editor was Priscila Uppal, who I met for the first time when she came to Vancouver for a BCP 2011 launch. There were only a handful of Vancouver-based BCP contributors that year (I don’t want to shock you, but seven of the series’ first ten guest editors were Ontario-based!), so I was asked to read as a “Noted” poet. From the stage, I teased Priscila/BCP/the universe about my runner-up status, and though she laughed it off with the good humour she was so known for, I could tell it pained her a bit as well, and I later regretted doing it. In hindsight, I understand her reaction – oh, how you come to love all of these poems and their poets! The arbitrary severing at poem #50 feels unbearably cruel, as does the one at poem #100. So I very much appreciate this chance to recognize the “next 50” poems, which would make just as strong an anthology as the fifty selected. I wish I could have included an “Also Notable Poems” featuring the next 50, too, and another after that, and another after that…

Funnily enough, Priscila herself is on the 2019 “Notable” list. She published a powerful, very funny suite of poems in ottawater not long before she died in September 2018. I agonized over including one of her poems in the anthology, and I wish I could invite her up on stage at one of the BCP 2019 launches to read it. I like to believe she would have teased me mercilessly (as I would have rightly deserved).

To the poets on the “Notable” list (posted below and included in the back of the anthology), I hope you float a bit, as I did in 2011. And I hope you aren’t too hard on me for making what is obviously the wrong decision. Where possible, I’ve provided links to the poems themselves. These poems may not have made the book, but the upside is that you can read them now for free (and, goodness, you should)!

Rob Taylor, Best Canadian Poetry 2019 is here! (Contributors and Notable Poems)

I am trying to write a narrative poem, which is unusual for me. “Narrative” meaning there’s a story in it.

And the poem is a story that is not my story. It’s not even the person’s who told the story — I’m a bystander three times away from the action.
And the emotion of the central character, desperation that spurs an action that risks everything, is not one I know — desperation, I know; action for action’s sake, I know; but risking everything? I’m far too cautious, canny, and grasping for that.

So can I write this poem?

I have a couple of unsuccessful drafts. They are missing the punch. My advice to myself is good: stick with the visceral image, keep close to the body. And I know that, James Wright-like, I can ask the title to do some work. But I’m not finding my way in, not finding my way out.

Should I not be writing a story that is not my own, however fictionalized? Is the situation I’m trying to write about too foreign from my own experiences? Is it possible for my imagination to fall short?

Marilyn McCabe, Like a Knight from some Old Fashioned Book; or, On Writing Outside of Lived Experience

Many years ago, I wrote a poem about baggage, called Baggage. Over the weekend, I started working on a new poem about luggage. I like the word “luggage” because it’s more evocative. That’s what we do with it, lug it around. Pull it and push it and attend to it because it must be attended to at all times. Sometimes I wonder what would happen if I just stopped lugging my luggage around, but I don’t know how. I’ve lugged it with me for so long that I would feel slightly bereft without its burden. We’ll see where this goes poem-wise.

Kristen McHenry, Naked Spa Day, Baggage vs. Luggage, Badge of Strength

I feel like there is an adjustment period during this time of year, going from the more mild long nights of summer into the short, dark, wet evenings of fall, and you have to care for yourself appropriately, You change your diet (soup!), your sleeping patterns (more!) the way you dress (getting out boots, sweaters, even winter coats.) You drink hot cider and hot chocolate and hot coffee, you watch shows you probably would give me a miss if was nice outside, you reorganize drawers and closets so you can get to your boots and cardigans.

As I move into my mid-forties, I also notice I have to adjust to life as a middle aged person. College students don’t always get my references to Kurt Cobain (or even Heath Ledger.) I need to wear moisturizer every day now. It takes me a little longer to bounce back after a night out. Old fillings fall out of my teeth. Teeth give you more trouble and are literally a budget item. (I swear I spend more on teeth than I do on clothes, which stinks!)

There’s also an adjustment period after being diagnosed with something like MS. You have to learn how to care for yourself with a new condition, even if it’s not really new, just newly diagnosed. Once again, you learn that a night out means at least one down day, maybe two or three. It takes longer to recover from illnesses. I need to rest more, and if I don’t, my body makes sure I do it by giving me unpleasant reminders. So I’m working on increasing patience for my body, resilience from hard times, bad moods, and viruses, or even “normal” symptoms of MS that might not seem normal to me. Not yet. Recovering from rejections also takes me a couple of days now. They don’t stop me from writing, though.

Jeannine Hall Gailey, Seeing Poets, Learning to Adjust, Seasonal Change

“An extra vertebrae? I’m a mutant!” I exclaimed. “It would be better if I could breathe under water or fly. This is kind of a lame mutation.”

She laughed and then began the hard work – putting my SI joint back into place and getting the muscles in my back to release. I have a weekly appointment through the end of the year and hope to see an improvement.

I don’t write much about my crooked spine anymore, though a few (very old) poems exist. Vertebrae, was published in Connections Literary Magazine in Fall 2007. Yes, this poem is more than twelve years old and it decidedly not my best work. But, we all gotta start somewhere.

Right now I’m focused on corrected some of the things I’ve been doing – like crossing my legs. This pulls my SI joint out and so I’m trying to stop doing it. But it’s a habit and so I still catch myself doing it all the damn time. And once we can get my SI joint to stay where it should be I’ll begin exercises that will strengthen the lazy side of my back. For now, I’m going to write some new poems, maybe an ode to my extra vertebrae, maybe a love poem to the curve of my spine.

Courtney LeBlanc, I’m Not Even a Cool Mutant

As if
the poem

will lead me
to heaven.

I keep
walking.

Tom Montag, AS IF
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 41

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.

Blogging turned 25 years old this week, using tech blogger Dave Winer’s first post as a starting point. And it’s been 20 years since Blogger and LiveJournal opened up blogging to the less-geeky masses in 1999. As John Naughton observes in The Guardian, “The furore over social media and its impact on democracy has obscured the fact that the blogosphere not only continues to exist, but also to fulfill many of the functions of a functioning public sphere.”

Via Negativa is coming up on its 16th birthday next month, and it occurs to me that its evolution has mirrored a big shift in blogging practice generally: away from miscellany toward more specialized content—in this case, poetry. Thanks to social media giving us ample spaces to share our more throw-away observations, as well as the sheer ease of starting new blogs where we can hive off some of our other specialized interests (e.g. my herbal brewing blog), blogging communities united by topic such as the Poetry Blogging Network can flourish.

That said, I do love it when poetry bloggers write more widely about their lives, because that’s where the poetry comes from. For many poets, there’s no such thing as a throw-away observation.

At any rate, Happy Birthday to blogging! In a world that feels increasingly fractious and fractured, let’s resolve to keep building and defending this public sphere.

On Thursday, I met a man with a grammatical error in his tattoo. This was rather sad. It was a quote from a Neil Young song.

On Friday morning, I found myself humming ‘Hi-Lili Hi-Lo’ and on Friday night I was watching a TV show in which the song was the background music.

Most days I was overwhelmed. There was so much minutia to keep track of, many staff concerns, interviews, decisions to make. I was supposed to be writing the last bits of my book before a deadline but I was working long days, no lunch, no exercise. 

On Saturday, I listened to Phoebe Snow’s ‘Poetry Man.’ My son arrived for a week. He admired my robe. I told him his sister talked me into it. He read Oliver Twist on the couch. 

On Sunday, I bought a book that consists of pictures of hands. Some were pointing or gesturing or straightening up, but mostly they were holding instruments.

Sarah J. Sloat, The week that was

There are days when it feels like we can drag a fine-tooth comb through our troubles but still can’t remove all the tangles. When the panic closet in our heart is closed for repairs. Or everybody’s way too tense in the present tense, taking far too many swigs off the haterade. Then there are days when hope is in high resolution, packing a solution for every problem under the sun. Or how, when this living war gets to be too much, we’re guided back down into the foxhole of friendship. Or when kisses taste like home sweet home. When our Lady of Bandages doesn’t seek our bondage, only our healed release.

Rich Ferguson, What My Granny Told Me After Packing a Wad of Chewing Tobacco

Yesterday a student asked if I had an extra notebook; her mom hadn’t had time to do the back to school shopping.  I said that I didn’t have a notebook, but I had paper.  I gave her a legal pad.  When she returned it to me, she had written me a note, thanking me for all I did to make the school a better place.  She specifically mentioned the bread and the butterfly garden.

When I think of things I’ve done to influence retention, I, too, think of the bread and the butterfly garden.  I do not think of increasing the Average Registered Credit (ARC), that idea that if we could just get every student to take one more class, all sorts of problems would be solved; every male administrator to whom I’ve ever reported has been a big believer in increasing ARC.

Let me record a poem thought that just jabbed me.  I’ve been at with a group planning a retreat around the theme of Noah and that ark–let me write something that weaves together that ancient thought of an ark, and the modern idol of the ARC.  Let my subconscious chew on that–maybe on Thursday I’ll have a poem.

I also thought about writing a poem in the voice of the water.  I’ve also thought of the fairy tale of the Little Mermaid and her sea foam destiny.  Sea foam and dead sailors and some explanation for why the sea always wants to swamp us.

I feel better knowing that I have poems percolating, even if I don’t have time to do much writing these days.

Kristin Berkey-Abbott, Bread and Butterfly Initiatives, and All of our Arcs

I was out this morning picking up windfall apples. I still need to get the kids into the last tree to pick the hanging ones. I’ll spend this week ignoring my phone as I’m not waiting on work calls, cleaning up the garden, cooking the apples, putting away the trampoline and summer furniture, sleeping and writing as much as I can.

This weekend I’ve tried to catch up on some of the prompts I didn’t finish in my last course. This morning I stared out the window and wrote a poem based on what I saw, one of the prompts I regularly suggest to my students. I’m mulling over a prompt on conkers I’ve had in my head for the past two weeks, lots of images but nothing to tie them together yet. And I’m sure there’s a poem stuck to the burr that came back inside with me today.

I will wallow in autumn, in autumn writing full of spice and warmth, damp and earthy. 

Gerry Stewart, Half-Term Wallow

Somehow we had this gift, probably luck, for finding the right trees for the job. In our style of tree fort, you needed three or four trees. They were the main structural supports. They had to be close enough together that our frame boards could reach, reasonably straight and not too rotten. For our largest and most well-built tree fort we used four trees growing out of a hill so one side was closer to the ground than the other, which made it easier to build a ramp to get to it. I think about those support trees when thinking about poems. Their position determined a lot—the shape and size of the rooms especially—and I’ve asked myself what the equivalent would be in a poem. It varies of course, but having some secure starting place to hang your first board, or your first line, and build on that, can be the difference between a fort that leaks and gets overrun by raccoons and one that you can spend the night in without fearing collapse.

“You use what you have, you learn to work the structure to create what you need.” writes Julia Alvarez about writing sonnets in her essay Housekeeping Cages. This was our approach, my friends and I. We had plenty of woods with tall trees. We had access to limited building materials (from our parents or stolen from construction sites) and we had time on our hands. Our materials gave us a start, even gave us the ideas to work with, but they didn’t limit us. We took risks (like building a hibachi and old tin pipe into a fireplace 40 feet off the ground), and got creative (we sealed cracks with melted candle wax, which of course melted away in the summer.)

We also had a reasonable arsenal of tools for the job. Hammers and saws mostly, buckets of nails, because we were crude builders making up the rules as we went along. “One has to know the tools, so he doesn’t work against himself. Tools make the job easier.” writes Yusef Komunyakaa about a period in the ’80s when he discovered the voice and form for some of his poems. Our forts would probably have gone higher, lasted longer and looked less like trash heaps with better tools.

Grant Clauser, On Tree Forts and Poetry, Structure and Support

and then the chimneys fell,
one by one by the ton of
ancient soot billowing applause
from the lads in the sidings 
wagoned in trammelled bravado.

some by explosive nostalgia,
some by pick and prop and fire 
and hope for the tugged heart strings,
bricked in piles, taking the stacks
down brick by brick, upending the past.

Jim Young, and then the chimneys fell

Back in April, which is ironically National Poetry Month, I did a bit of reorganizing and moved my to-be-read poetry pile to the bookshelf in my office. Now given their own space, I realized I had quite a stack to work through.

After seeing the unread books lined up I vowed to not buy any new books of poetry until I’d read at least half on this shelf. True to my word, I started working my way through the stack and refrained from buying from any additional books. By the end of September, my shelf looked decidedly emptier.

Then in quick succession I bought boy/girl/ghost by torrin a. greathouse, Odes to Lithium by Shira Erlichman, Diary of a Ghost Girl by Shay Alexi, How to Cook a Ghost by Logan February, and Good Grief by Mikey Swanberg. I did this for two reasons:

1. I love poetry and am always interested in reading new poets that I find and love.
2. I want to support poets and independent presses.

Not only do the above two reasons serve as huge motivators to keep buying poetry, but my new book, Beautiful & Full of Monsters, is now available for pre-order from Vegetarian Alcoholic Press. It would be hypocritical of me to ask others to order my book if I’m not ordering theirs. So I keep buying and reading poetry and I keep asking others to buy and read mine.

Of course, one thing I didn’t exactly plan for was the twice-annual library book sale. Not only do I attend every year but I volunteer every year as well, spending hours arranging and rearranging and reshelving books. And because I volunteer and am a lifetime Friends of the Arlington Library (FOAL) member, I get to purchase up to 20 books at a 50% discount (10 books for being a FOAL member, 10 books for volunteering). You can see where this is going…

Courtney LeBlanc, Supporting Poetry

I’m very happy to announce that my new chapbook, The Green Waves: Poems from Roblin Lake, has just been published by London, Ontario based 845 Press!

The chapbook contains 15 poems, written before, during and after my family’s stay at the Al Purdy A-frame. The poems feature my family (the boy was barely toddling at the time), the A-frame, Al and Eurithe Purdy, disgusting pancakes, bonfires (book and otherwise), carbon monoxide poisoning, black holes, drowned mice, a heron named Ike, lilacs, frozen turtles, Nick Thran, etc. Mostly they are about making space in your life for the things you love.

Here are three sample poems:

County Roads
Last Embers
Lyric

For only the second time in my life (the first being “Oh Not So Great”: Poems from the Depression Project), something I wrote has blurbs! I like blurbs but hate nothing more than asking someone to blurb my books, so I was overjoyed when the wonderful team at 845 Press (Aaron Schneider and Amy Mitchell) went and organized blurbs on my behalf. It even inspired me to ask a couple more people, which led to a very imbalanced poem-to-blurb ratio (15 to 4 – one blurb for every 4 poems!).

Rob Taylor, The Green Waves: Poems from Roblin Lake

As the New York Times reports, we’re seeing industry-wide hand-wringing right now about how rarely books are fact-checked, following scandals involving Naomi Wolff and others. I’m proud that Shenandoah editor Beth Staples makes fact-checking a priority: the interns comb through every piece we publish, following up on names, dates, and a host of other check-able details. Not every poem needs fact-checking, of course, but some do. For example, I posted my own poem about the moon landing recently. Most people wouldn’t notice if I got the date wrong, but some would, and spotting the error might impair their faith in me as a writer.

So what level of precision do poets owe their audiences? Spelling proper nouns correctly, and checking dates and quotes, seems important, if a poem references real-world people and events. The trivia doesn’t matter, really–if I tell you right now that my teapot is as blue as loneliness, but it’s actually an unromantic beige, that seems like a reasonable bit of poetic trickery. (Gotcha! It’s orange.) Even in a persona poem like “The Love Song of J. Alfred Prufrock,” a piece that’s obviously fictional, you’d want to check the Dante quote before you hit send.

I just handed in copy-edits for my next book, The State She’s In–overcoming the usual Prufrockian abulia to do so, because finalizing a book makes me REALLY ANXIOUS–and the process involved a final round of fact-checking on my end. Several poems involve public history that’s important to get right. While I know I was careful during the period of composition, what if I made a bad mistake in a poem about slavery, say, or Confederate history? The vultures aren’t wheeling around my publications the way they do around high-profile nonfiction, but still, I’m addressing sensitive material.

Lesley Wheeler, Copy-editing and fact-checking poems

– It’s way past time to cut loose from Mark Zuckerberg’s Facebook and Instagram. Sure, Elizabeth Warren is right; it’s too big, but there’s something else. It isn’t fun anymore. Facebook feels kind of like rock music did when the corporations got control of it. […]

– I have a conure, a sort of smallish type of parrot. At 11 years old, he understands a lot of English, even though he doesn’t talk. Pico Verde Jobe is his name.

  He’s holding something in his claw, eating it while standing on one leg.

   “What are you eating, Pico?”
   He holds it up and shows me. A nut.

   “Is is it good?”
   Pico vigorously nods yes. 

James Lee Jobe, Journal notes – 12 Oct 2019

We could play
at poetry
the way men

play at war,
except not
blood shed, it

would be stars
lost to us.
Warring poets

would darken
the sky […]

Tom Montag, We Could Play

I like to tell my friends that I never, ever have writer’s block, and yes, I rarely have the full-blown version. I do, however, experience creative slowdowns, periods where I produce less work than I’d like, or my ideas seem stale, or I feel a lack of interest in writing. This is more dangerous than it sounds: lack of energy, interest, and concentration are also symptoms of depression. In order to avoid falling into this pit of despair, I’ve tried to build a practice that anticipates and mitigates writer’s block as much as possible.

History is rife with examples of artists who self-medicated with drugs and alcohol (poets are over-represented in this area) during unproductive periods. Clearly, this is unwise. Writer’s block is always temporary, and there’s plenty a writer can do to address it when it does occur.

Here are a few things I do when I get stuck. 

I take a nap. Sometimes I just need a rest. Often, I wake up from a nap in the middle of a “light bulb” moment. As Shakespeare put it in Julius Caesar: “Enjoy the honey-heavy dew of slumber.”

I go for a walk. A couple of days ago, I was working on a review and a short piece for my newsletter. After a 45-minute walk, I had solutions for both. Had I stayed home, I would have stared at my computer for 45 minutes, become more and more frustrated, and probably not had any ideas.

I turn to my collection of craft books. I pull them out of the bookshelf, grab my notebook and pen, and sit on the floor. Eventually, I’ll find something that kick-starts my writing. […]

Erica Goss, How I Banish Writer’s Block

The university takes a long weekend in October; I thought it a propitious time to snare some solitude for writing and revising and thus betook myself and a mountain of my work to a semi-secluded cabin. Designed and largely built by Jack Fisher, the place offers light, comfort, memories, art, nature and spaciousness of environment. While I had no particular plan in mind–in retrospect, possibly a mistake–I imagined these days would act as a mini-writing retreat.

I love the cabin, the memories, the aesthetics of the house and generally I love solitude as long as it does not extend for too many days. The circumstance I discovered once I opened up my pile of poetry drafts, however, led me to one conclusion: I was going to have to organize, read, evaluate, consider, and cull before even getting to the “fun” part of revising. This level of work tends to discomfit me, feels tedious and draining and sometimes fruitless–which is why I have pretty much put it off since…oh…graduate school. Almost two decades.

But I made myself time to be alone and undisturbed, so let my work disturb me as it must. If a writer never allows herself to experience discomfort, she is unlikely to move her work forward in any meaningful or craft-related way.

Ann E. Michael, (Dis)order & (dis)comfort

A friend once told me something a friend told her that had been told to him by a mentor, and it’s basically this about writing: It’s okay to climb the same mountain again and again, but you need to be going up by different routes. I think of this often. In other words, it’s find that I’m obsessed by a subject matter, with trying to get to some new way of understanding it, but my poems need to approach it by different means.

Makes total sense. But at the moment I feel I’m trodding a well-worn path. I think I’m trying different things, but all I’m doing really is skirting a bit the old route only to find my way back there again.

The solution I’m pursuing is my same old solution, which is not necessarily a bad thing — exposing myself to other people’s art. (And reading widely [wildly?].) I like rattling around in the art world looking for something that stops me and twirls me around. Sometimes this dizziment can open a pathway to a new way to approach my own work.

Marilyn McCabe, With Sally in the Alley; or, Finding New Ways Into the Poetry Work

With the oil pastels and the picture cropped this way, I really like the strong cobalt blue with the lavender and dull green of the mountain. The foreground is missing in this crop, but the gouache helps me see better what to do with it. In addition to the beautiful, iconic trees, one of the most striking aspects of this landscape was the circular pattern of rocks and scrubby growth of the mountain behind the cedars. I like how the oil pastels have worked to capture that — it’s subtle, not detailed, but effective. Now I’m thinking about making a larger painting, in oils, based on what I’ve discovered by analyzing these pictures. The main message is simplify.
—
While I was working on this piece, I found a suite of poems by Seamus Heaney that he had written in Greece. One of them is set in Delphi, and it speaks of Heaney’s desire to drink from the spring where all visitors to Delphi who came to consult the oracle stopped to wash and drink; the same spring was used by the Pythia and the priests for a ritual cleansing before giving an oracular pronouncement or interpreting an oracle.

The Greeks believed that the spring was located at the center of the earth. Zeus, king of the gods, had loosed two eagles from opposite ends of the world, and, flying at the same speed, they crossed paths above Delphi. Zeus let a stone fall from the air where they crossed, and where it fell became the sacred site, marked by a stone called the omphalos, or navel of the world. Under the omphalos was buried the mythological monster called Python, which had guarded the sacred spring, until it was killed by the god Apollo, to whom Delphi and the Oracle became sacred. We saw a Roman copy of this large carved stone in the museum in Delphi. The carved pattern represents a woolen net that was once thought to cover the stone.

If you’ve been to Delphi, you would have thought, as I did, what a long, difficult journey it must have been to get there from any of the major city-states of Greece, and then to have to add the arduous climb up the side of Mt Parnassus. I wish I had known that the spring still exists, and that there’s a modern fountain by the side of the road for modern travelers, but I had no idea! Heaney, visiting in the 1960s, did know this, and of course — as a poet who had been steeped in the Greek classics, translated some, and used so many references and stories in his own poems and plays — he was determined to drink from it himself.

Beth Adams, The Navel of the World

Reading Groundspeed, I took note of how [Emilia] Phillips’ narrator refuses to let her own traumas (in this case her own cancer or the death of a half brother) carry any more weight in the collection than the tragic events and lives around her. Our suffering truly is ordinary, and in treating it as such, Groundspeed mimics for us what life is actually like: one long road trip, hotel overnights and stops at home, all interspersed with encounters we have, dramas large and small, our own and everyone else’s. My tendency in my own work — including when I’ve put manuscripts together — is to visit my obsessions (distance, intimacy, romance, etc.) far too often. I learn from this book that our obsessions/favorite themes carry a little more weight when they don’t tag along in every… single… poem. I’m grateful for this model.

I love how Phillips creates scenery from ordinary observations, as though the poems are movies. As pseudo- short films, the poems in Groundspeed celebrate “the glories of their mundane” (a line from one of the poems) as they include beer cans, chewing gum, pollen in the ditch, etc.

In a contributor spotlight in Memorious, Phillips says, “For years I’ve been seduced again and again by two lines of Fanny Howe: ‘My vagabondage is unlonelied by poems.’ In some ways, this statement has become a kind of mantra for me, especially in difficult times. ‘My vagabondage / is unlonelied by poems.’ Not only does it recognize the loneliness of one’s life in that word ‘vagabondage,’ it also speaks to the restlessness I’ve felt my whole life—this draw to move from one place, physical or otherwise, to another.” Howe’s phrase will stick with me, along with Phillips’ mention of it. Unlonelied by poems. Amen.

Carolee Bennett, “the glories of their mundane”

Yesterday, at the end of the reading at the Field Museum, someone in the audience asked if I consider myself a nature poet.  I realized I’d just spent a good  half hour or so talking about how I can’t stop writing about birds.  About how a project that was supposed to be about dinosaurs and extinction would up also being largely bird-laden.  About the Cornell Boxes andmy second book, in the bird museum. About how I’d made a bee-line on my first visit, not to the Evolving Planet exhibit, but to the Hall of Birds, the very same hall where I was giving that very reading.  And yet, I faltered and wasn’t sure what to say.

When I think nature, I often think of Mary Oliver, whose poems, while I find a lot of them sort of facile, usually use nature as a means to teach us something about humanity. The nature is the tool by which we come to understand something more about ourselves.  I know many poets who write similar observances and explorations of the natural world, and in fact, have published a good many (much better than Oliver) with dgp.  But as for me, it’s strange to claim it.  […]

As I worked on extinction event, I’ve been reading idly a few pieces on the eco-gothic, whose gist is largely that nature is not just a background for human activity to occur in, but a force itself.  The menacing forest.  The haunted garden. The terrible sea. That nature (including plants, animals, landscape, weather) is just as much a character in any story as the ones with speaking parts.

I like this sort of nature, the kind that is dangerous and may just kill you.  Much of that is where extinction event comes from. My answer to the question, in the moment, was that I tended to write a lot about horror and the supernatural lately–scary movies, serial killers, stabby adolescents urged on by Slenderman. But that nature is always present in them–weird or twisted as it may be.

Kristy Bowen, nature, writing, & the ecogothic imagination

Please tell us about the genesis of your new chapbook, little ditch. What is the collection about and how did it come into being?

little ditch is a chapbook about survival through sexual abuse, rape culture, & internalized misogyny. This is also a book about being sexualized as a young, non-binary person growing up in rape culture. About being a preteen on the verge of something shattering. About the fur.   

As I was completing my first book, Field Guide to Autobiography, I was visited by these urgent, dark spells or calls to action to write a way towards these poems. These poems felt caked in dirt, but very alive – I felt the need to dig deeper. Using various creative exercises like trance, tarot, & cut-ups, I tried to summon the hidden. There were times where I’d not be able to recall anything, other times I’d feel immersed in sense memory. All these gaps and leaks where trauma holds in the body. I later referred to these as “the ditch poems.”

Many of the poems in your collection explore the intersection between body and the natural and human-made world. What drew you to this imagery? 

Many of the poems in this collection are based on a type of mineral. The more I explored the language of minerals, the more I came to see the connections between that vocabulary and the oppressive vocabularies of patriarchy. Using found language from field guides, these poems tell a story of the nature of patriarchy; how we build upon & reinforce this hegemonic palimpsest. It also begins to explore how the sedimentary foundation of American rape culture is inherent in mineral structures of the Earth’s crust. This book is about trusting yourself enough to claw your way out.

Do you feel that writing and engaging with poetry is one of the ways a person can help find their way out of these structures? 

Yes. I think poetry allows us to reimagine and reshape how we perceive language, and the larger world. I’ve found this to be especially true of experimental poetry, which sometimes feel to me like a great puzzle, or an algebraic equation. Poetry = music + math. Wrestling with diction or meter can lead to creative solutions or enhance our understanding of the world of a poem, and that praxis forges new neural pathways in the brain that expand consciousness as we know it.

Andrea Blythe, Poet Spotlight: Melissa Eleftherion on survival and how language reshapes our perception of the world

And now the thin edge of an eastern wind brings
tears of resin, a scent of green disorder, a cataract
of leaves and berries far ahead. Darkness crowds us
back onto the train. Rocked but sleepless, we sit
and stand by night-curtained windows, watching
the dim images of ourselves watching the flying trees.

Dick Jones, MOTHER RUSSIA.
Posted on by Dave Bonta

Poetry Blog Digest 2019: Week 39

Poetry Blogging Network

A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts.

This week found poets settling into an autumn mindset, with all that implies. Considering how momentous the political news has been in the US and the UK, it’s frankly amazing that anyone took the time to blog at all. But there are still poems to read, and to write, and—for many—to teach. There are manuscripts to revise. There are creative partnerships to nurture. And always there are new surprises to wonder at, a tiny minority of which ever make the news.

Those short,
sharp lines of autumn, and the last
lightning bugs grounded now
by the density of their own end.
The Milky Way, just there, close
enough to touch.

JJS, Pinhole

If we lived in an earlier culture, we would celebrate Michaelmas today.  It’s one of the harvest holidays, one of the quarterly celebrations that kept people rooted to traditions of the seasonal cycles. […]

I am trying to slow down, even as the world encourages us to zoom, zoom, zoom.  I want to savor the way the afternoon light slides into evening from a different angle now.  I want to enjoy the seasonal decorations that we have now.

Kristin Berkey-Abbott, The Hinge Holiday of Michaelmas

It is, for me at least, a new year. Wishing everyone a happy Rosh Hashanah with hopes for a year in which we all move forward in all of the ways that we are able, hold on to one another in health and illness, and hang on to our own and each others’ goodness.

My new year starts with retirement in exactly 8 weeks. The scramble is on to apply for Medicare supplemental insurance and social security benefits. and then, at Thanksgiving, I am leaving my peninsula home for a month of family visits. More about that another time. But I am still looking for someone who would like to retreat at a lovely private home with water and mountain views in exchange for catsitting while I am away, in case you know anyone who might be interested.

And ! There are new chapbook reviews to check out!

I have a review and interview with Carl Phillips up at the Adroit Journal!

And there are new chapbook Reviews at The Poetry Cafe!

Risa Denenberg, Sunday Morning Musing over What’s Next?

Shortly after I published a post about the connection between writing and self-care, I received an email notice about a new post from Trish Hopkinson’s blog* on reframing your poetry manuscript. The post — which is a guest post by  Natasha Kochicheril Moni — caught my eye because I’d been contemplating publishing an update about the status of my poetry manuscript.

That update is simple: I no longer know who it is.

I can relate to the standstill/stare-down Natasha describes in the opening of her post. When I go visit my manuscript, it doesn’t even welcome me. There’s no room for me in it anywhere. Not even space for me to park my car out front. Like the warning I saw on a recent trip to Brattleboro, VT: “No parking EVER. Violators will be towed.”

I have been telling myself to grab the poems that still mean the most and start over. But for months and months that felt too much like a break-up (a feeling Natasha also identifies), and I wasn’t ready. I’d nurtured the thing for more than six years. And anyway: I don’t have enough new material to make a clean break. At least not yet.

But new things are brewing.

Carolee Bennett, violators will be towed: a manuscript update

Every
day is like
this, a white

bird in the sun.

Tom Montag, Old Man

This has been a super-hard September, beginning with emotional transitions–dropping my son off for his first year at college, establishing my daughter in her first apartment–and proceeding through too many doctor visits and grant applications on top of the usual stuff. And the usual stuff brings its own challenges. It’s hard to kick off classes well; students and advisees need and deserve a lot of attention. One of this month’s biggest difficulties, though, arose from the good luck of having two books scheduled for spring publication. Edits for my poetry collection arrived in late August, but while finalizing any ms makes me super-anxious, those edits weren’t heavy. As soon as I turned them in, though, the novel edits began arriving, and they have been much more demanding, in large part because I’m newer at prose fiction. I had more to learn about economy and precision than I realized. […]

I’m most likely to push myself when the writing obligation involves someone else’s time and effort, as is the case in delivering mss to editors, and if you’re like that, too, you can find ways to create obligations that don’t involve imminent book contracts. One colleague made a lot of writing progress this summer, for instance, by blocking off non-negotiable writing time on her calendar and making public commitments to get a certain amount done. Another has started a writing group for two hours a week: with snacks, in silent camaraderie, we sit together and work on something not related to teaching, then set goals aloud for what we’ll do in the week ahead. I’m usually very solitary about writing–I’ll always choose a shut door and a quiet room over a cafe, for instance–so I’m surprised to be enjoying it, at least in small doses. I’ll probably be happier when I can use that time on new work rather than face up to the endless failings of this endless ms, but it’s good to be reminded that all the writers you know are waging similar battles with themselves.

Sometimes I wonder if I’ll ever just hang up the towel on the stress of publication, but I guess this post is one possible answer: I would keep writing even if no one wanted to listen anymore. I seem to rest from writing by writing in other modes, or at least reading. Lunacy, probably, but here I am.

Lesley Wheeler, Pacing

Clear from the first poem, “Blessing for Beauty,” is the indisputable truth that the speaker has cancer.

Maybe the universe wants to spare me the apocalypse,
maybe it wants me to counsel the dead,
maybe the cancer finds me so delicious
it wants to eat me from the inside out…
Oh trees, flowers, small animals at the bird feeder—

And so the poems unspool, sometimes in high lyric and sometimes in plain truth. Many of the poems are also love poems to Kusnetz’s husband, poet and writer, Brian Turner. One of my (many) favorites comes late in the book and is not technically a love poem at all, “Meditation on “Cottage Window, St. Remy de Provence.”

And so perhaps we cannot furl the lit hours
inside ourselves, relive their sinuous grace

The poems range from the philosophical to science fiction, to nature, to a love of ginormous proportions. In my copy the pages are folded back, marked and reread again. I promise Angel Bones will make a difference in your life. It has in mine.

Susan Rich, A Must Read: ANGEL BONES by Ilyse Kusnetz

I recently read a new and very special pamphlet by Valerie Morton and Karen Dennison where the two co-writers respond to each other — a conversation with poems. Two of the poems from their sequence, and ordering information is here. I asked Valerie a few questions about the project. When answering, she first passed along this quote:

“Every new beginning comes from some other beginning’s end”       Seneca

Elly: How did Still Born come to be?

Valerie: It has been an enormous pleasure and privilege to work with Karen Dennison on this pamphlet which began as an idea after I had been reading about response poems and how they could inspire and rejuvenate poets into discovering places they may not have visited before. Karen and I both had ‘a poem in waiting’ and the pamphlet was born.

As we continued we realised we had created something special and that we could put it together into a collection and publish in the hope that we could raise some money for a charity.

Elly: Please say something about the title. After reading the poems, I was struck by how well it reflects, what seems to me the themes and multiple possible ways to respond  to the pamphlet.

Valerie: I am glad you read it that way. The title plays on the word stillborn because I believe that even though this is such a big loss that person stays very much alive in the mind and memory and so they are still born and with you, if that makes sense?

E.E. Nobbs, Two Poets & Their New Pamphlet “Still Born”

Often I am asked about what it’s like to work–I always think the verb should be dance–with artist Clive Hicks-Jenkins. He has illuminated and beautified my books for a long time now. I often thought of us as metaphysical twins (I can’t remember who first came up with that thought) when we first tumbled into correspondence. The first year of exchanging letters was so inspiring! It’s marvelous when you meet a person who inspires you and whom you inspire in turn. […]

Somehow when I’m in a Clivean-Marlyan mode, congruence seems to increase, and not just a congruence of minds. Surprise happens: things happen that suggest that the world is a more enchanted, spark-lit, symbolic place than we commonly know. It’s as if we are turning around a hidden center, that we live in a place of abundance. And for moments I’m more congruent with the deep shapes and patterns of the world, and I feel heart-struck and tied in spirit to someone on the other side of the sea.

Marly Youmans, Hands across enchanted seas

Soon, he closes his eyes to listen
            to my new poem.          Soon,
                        I stumble.   Again,
again.     These words
            don’t relate to us.   They are torn
from the fragile body of things
                          that can be told simply.

I walked slowly with my father.

Romana Iorga, Genesis

Do you find that the writing of poetry can be a way to process the kind of intense emotions you have gone through?

Poetry is the way I have been expressing myself since I was a teenager. I’ve always loved horror fiction and films so as an adult I found that combining my real life experiences with horror imagery was a way I could deal with my sorrows from a distance. Horror in my work is like a distorted lens I can use.

One of the ways your poems seem to work through the horrors of adulthood and loss is through traditional horror imagery of blood and monstrousness? What is the value of horror as a genre in addressing emotional experience? 

I turn subject matter like cancer, chemo and child abuse into the horrors that they truly are but allow the readers to feel their own pain. The value is that readers can can see their own monsters in the words. They can step into my shoes or draw on their own pain. We all have monsters hiding under the bed. We all have moments, that if we were deranged, we’d kill the ones who caused pain or watched us, with dead eyes, groveling in the dirt of our horrors.

Andrea Blythe, Poet Spotlight: Michelle Scalise on the horrors of grief

A dog barks;
a man calls.
The sounds curl away.

The men sleep
wrapped around
their prey
like lovers.

Dick Jones, Night Poachers

This five week hospital stay I think I’ve only drafted two poems, but they are two very  hard won poems. I used to think of writing as something like exercise…like “oh I haven’t gone for a jog in a few weeks, suppose I should…” except I was always far more diligent with writing than I ever have (ever!) been with any sort of exercise. Instead I think of the habit or hobby or practice, whichever you prefer, of writing as a gift. Not necessarily a “gifting” but a gift. When I come to another mid-week of driving hours in the car to and from the hospital with the children, trying to keep things a little balanced and half normal for them as I work so hard to just get the chance to hold my baby, when I come again to that mid-week, I know that I always have the gift of writing. I can use that to sift all of it through, to categorize it, put words to it. I can put words to it. And that is a gift, it is truly a gift.

Renee Emerson, writing in hospitals

Have you been reading the depressing news about the extinction of trees in Europe (in particular, the Horse Chestnut tree is in trouble) and the disappearance of about half of the bird population in North America since the seventies? Oh, right, you were focused on all the impeachment stuff in the news? Totally understand. But it is a reminder to appreciate and notice the birds and trees around us, especially the ones that are difficult to grow and maintain, the birds and plants susceptible to changes in habitat and climate and invasive species. Also, there have been some really interesting articles about how spending time in nature literally helps your body heal, and I believe that’s probably true. As I’ve gotten older I’ve gotten more interested in planting things, and trying to appreciate the work that goes into maintaining public spaces, parks and gardens. I’ve been trying to plant things around the garden that butterflies and hummingbirds like, and planting sunflowers for finches and other small birds. […]

I hope you have had a good beginning to fall, full of promise and good cheer, celebrating the changing seasons as much as you can. I am hoping to fill the increasingly dark and rainy days with writing and reading (I just got a new stack of library books) and hoping to find good publishers for my two book manuscripts, placing poems and hopefully getting to do some writing-related social things (I have a reading scheduled for the first week of October in Auburn so hopefully I will be better for that!)

Jeannine Hall Gailey, Glass Pumpkins, Appreciating Fragile Things, and the End of September

Don’t want us to become Hitler-haired hate machines. Don’t want us to become snuffer-outers of incense and childhood dreams. Don’t want us to make our bed to now only lie in it. Don’t want us to become the uncorrected manuscript all about treating one another incorrectly. Don’t want the alphabet to ever lose the letters MLK. Don’t want Mother America to become a scullery maid for the criminally corrupt. Don’t want us to become a movable feast that loses its groove. Don’t want us to become the strange fruit in bitter homes and gardens.

Rich Ferguson, When My Therapist Asked What I Didn’t Want Outta Life

talking to my cat
slowly the sunshine returns
an autumn morning

Jim Young, [untitled haiku]