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 time, I am playing catch-up, which of course meant twice as much reading as usual, but I can’t say it hasn’t been a pleasant way to spend a lazy Sunday while recovering (I hope) from a mild virus. Poetry bloggers have been in fine form over the past two weeks.
Incidentally, for those craving a poem-a-day exercise this month, it’s not too late to join NaHaiWriMo or Post-It Note Poetry — or both!
I discovered wordpools in Susan Goldsmith Wooldridge’s Poemcrazy. “I collect…hats, coins, cougars, old Studebakers,” she writes. “That is, I collect the words. Pith helmet, fragment, Frigidaire, quarrel, love seat, lily. I call gathering words this way creating a wordpool. This process helps free us to follow the words and write poems.”
When I read this, I’d been writing poems a long time, but the idea of collecting words to spark creativity was new to me. That a poem might be lurking in some random words—surge, hit, new, kiss, overall—fork, innocence, bumblebee, fingers—was exhilarating.
Around this time, the late 1990s, Magnetic Poetry kits appeared. I received many as gifts. They came in sheets, requiring the recipient to detach the words from each other. I’ve lost count of how many kits I processed this way, only to find the words I’d carefully separated uninspiring. Staring at a refrigerator covered with words that someone else selected did little for my creativity.
Erica Goss, Dive Into the Wordpool
public library
Bill Waters, Public library
the little girl skips
to the door
Funny how, once a character is on the page, the author loses control.
Sometimes I stumble on my own writing – an old poem, or a bit of a journal entry – and it is completely foreign to me.
I wrote a draft of a novel once.
And realized that I am a poet: fragmented.Shattered.
Ren Powell, Being Seen and the Value of Journaling
Maggie Smith talked about embracing brokenness and error in poems. She talked about the kintsugi method of ceramics, where cracks and even broken pieces are filled in with metallic lacquer. She talked about ways to use this technique in poetry through the things we mistype, the spelling errors, the things we hear wrong, and all the other ways we should embrace our mistakes. If we’re open to our imperfections, the poems may take us to surprising places that a rigid poet would never discover.
My favorite quote of hers: “I don’t got to poetry for comfort, as a reader or a writer, but to be changed.”
Her craft lecture was paired with Adrian Matejka, who talked about persona poetry and issues of history, culture and appropriation. I wasn’t familiar with his work, but he was a dynamic, engaging speaker, and I enjoyed the topic. How interesting to be talking about these issues during a week when the nation has been talking about these issues in the latest Oprah book pick, American Dirt.
Kristin Berkey-Abbott, Craft Talks at the Palm Beach Poetry Festival
Days like these, it’s hard to tell up from down. Days like these, when the flow and deluge of the cosmos rubs up against our flesh, the universe hymning and howling the joys and sorrows for which we struggle to find words.
Days when our hearts strain against the unknown until the pain becomes a part of us.
Days like these, when all we can do is put our shoulder to the wheel. Lean into love.
Rich Ferguson, Days Like These
And, of course, there are always the ‘let’s-all-spread-across-the-sidewalk-and-take-up-as-much-room-as-we-can’ walkers. And dog walkers. And a woman who must have splashed through the ocean’s shallows, standing one-legged at her open trunk wiping sand from her feet. And a man wandering the boardwalk with a phone in his hand, who could be waiting for someone. Or even for himself.
And here’s me, trying to remember to keep right not left but forgetting when I run back to the beach, and spit some water onto the rocks, which way the wind is blowing.
sunrise
Lynne Rees, Deerfield Mile
all of us
in this
together
I forget how much I enjoy the camaraderie of other writers, especially foreign writers here in Finland. We’re a good mix of nations, last night there were British, American, Hungarian, Romanian and Jamaican writers attending. We usually have a Finn or two as well. We went out for a drink afterwards, to talk shop, politics and just generally blether. We may not agree on everything politically and I was grateful the conversation did not turn to Brexit, but I feel we can actually debate and break open subjects that touch on writing, teaching, literature and being immigrants.
Though the other writers and I are on different paths in our writing careers, there are few poets in the group, it’s nice to have a small community to share worries, successes and struggles. If someone asks, how do you decide when a piece is finished, there are lots of different points of view and stories shared, poems that get rehashed to death, stories that never get finished. They understand. I’m so glad I’ve managed to find this in a place where I can’t properly engage with the local literature because my language skills just aren’t up to it. Even if I can’t make it every week, I know it’s there when I have time.
Gerry Stewart, A Bright Light on a Dark Brexit Day
I often like to think that the paid employment I do on week-days gets in the way of my true vocation. Yes, I know that sounds pretentious, but how I envy those who can set aside time when they are fresh and alert to do some writing. Like many others, I mostly make do with writing on evenings and weekends when all I really want to do is slouch; and doing so is knackering. Lately, though, I seem to have snatched some decent writing time on bus journeys, from Hampton Court or Kingston to Twickenham, which has been a boon. My wife’s mantra is, “It’s later than you think” – wise words made wiser recently by news of the deaths of three friends and acquaintances of my age. So I’ve been trying to make the most of my time with a mantra of my own: “Get running, get writing, get the fuck on with it.”
Matthew Paul, Writing time
I like to write, but boy, do I have trouble at times settling down. I love to write, even, but the other pole – the love of motion – makes it rough to sit at that desk. I’ve got to keep moving. I’m not the kind of writer to dictate into an IPhone as I’m walking, or as I’m doing spins on the dancefloor; so I do need my desk. Once I re-discover my desk as a long-lost love, I start to wander in my head.
I’ve paired up with a compatible subject for a poetry sequence — home/homelessness. It troubles the idea of home and explores the commonality of homelessness. Is it something about me, my tribe? Wandering Jews are well-known entity, starting with God ordering Abraham and Sarah to leave their home and get moving into the unknown. In the current cyclical readings of Torah, we are in Exodus, wandering in the desert.
My tribe as human? Metaphorically we might now feel that we are all wandering in the desert. The first thing my IPhone showed me this morning was a suggestion on the Home Screen: “It’s true that nothing makes sense.” What the —?
Jill Pearlman, The New Vertigo
THIS is the best thing about this week: a stunning cover for my forthcoming poetry book, featuring a painting called “Censer” by Ida Floreak and designed by Nikkita Colhoon. Nikkita’s work was one of the draws, for me, in working with Tinderbox Editions–all her covers stop you in your tracks. I feel really lucky. I owe thanks, too, to Clover Archer for bringing Ida’s art to Staniar Gallery on campus, and to Kevin Remington for getting a high-quality photograph of the work. I went to Ida’s talk just as I was puzzling over possible covers, so there was something magical about the convergence.
Like Ida’s other work, “Censer” has a meditative quality I love. She’s arranged a shrine out of natural objects, highlighting their grace–and the cracking egg suggests rebirth (when am I being reborn again? I’m ready!). Ida says she’s influenced both by botanical drawings and religious art, and this book is full of plants, creatures, and spirit-questions. I had wondered what colors Nikkita would choose for the words on the cover; the pink is both surprising and right. The poems reference pink constantly, from pussy hats to magnolia blossoms to rose-tinted medicines. And somehow the pink lettering makes the shadows more striking, which feels appropriate to this collection, too. Yes, I know I’m close-reading my own cover at length, but I’m excited, dammit.
Lesley Wheeler, She’s in a state, all right
I’ve parked the hedgerow
where the bees might becan’t find the way into my book
I don’t know where it will take me
it’s quite fugitiveoak-gall ink
copper pomegranate and avocado
I’ve never wanted to do thisthe Red Dress is coming next weekend
Ama Bolton, ABCD: January 2020
a kitten is arriving on March 1st
I can’t stop drawing trees
[Colleen Anderson:] What is it about dark (speculative) poetry that you think attracts people to read it?
[Jeannine Hall Gailey:] I think that definitely the mood of our current age is one of apocalypse–there’s a reason there are so many disaster movies and superhero movies. We look to the mythological and the epic to try to make our own stories make more sense.
What projects (publications) are you working on or have coming up?
I have two book manuscripts in circulation to publishers and I have a speculative poem coming up in the latest issue of Ploughshares called “Irradiate” and an upcoming poem in Poetry called “Calamity.”
Is there anything else you would like to say about horror and speculative poetry and fiction?
I am really glad the horror and speculative communities exist and I’ve made friends within the SFPA (The Science Fiction and Fantasy Poetry Association) and the HWA (Horror Writers Association) that are really important to me. Often, we can be treated as “outsiders” in the literary world, but we aren’t really outsiders–I guarantee there are more poetry fans of speculative and horror work than people think.
Colleen Anderson, Women in Horror: Jeannine Hall Gailey
Alice Oswald, who is definitely “the great Alice Oswald” and is also now the first woman Oxford Professor of Poetry (though not the first to be elected – that was Ruth Padel), performed at Kings Place on 17 January with live music by Ansuman Biswas. Oswald does specifically “perform” rather than “recite” or “read” – even her more conventional appearances involve her almost chanting her poems off by heart, unforgettable performances unlike anyone else’s. I have written about seeing her a couple of times before, and this was one of the less conventional appearances. It started with a “sound calendar” or seascape by Chris Watson, and the actual performance was mostly in total darkness, although there was partial lighting for sections of it.
Oswald was performing Nobody, her most recent book, based on stories of water, humans and gods from Greek mythology. I’m only superficially knowledgeable about the Odyssey and related works, so I appreciated Nobody more from a sea-perspective, but the tales that washed in and out sometimes had an odd familiarity. Ansuman Biswas performed on the aquaphone, which reminded me of sea sounds washing into a cave, and also an enormous gong, which was overwhelming to the point of being almost distressing at certain points. The whole performance was mesmerising, thrilling and absolutely haunting.
Clarissa Aykroyd, Alice Oswald’s Nobody at Kings Place, and Anselm Kiefer at White Cube
Perhaps I shouldn’t be surprised, but reading Sharon Olds’s Arias has released something in me, and I’ve been writing a lot of new poems! Olds writes about anything–troubled family relationships, her mother who beat her, sex, death, childbirth, the intense love of one’s children, scattering ashes, how California got made tectonically, etc.–so she probably gives me “permission” to write about anything, too! Or sing (in the shower, arias) about anything!! And I have to say I like the coincidence of how the black-and-white book cover matches that of Hope in the Dark!
Kathleen Kirk, Arias
We’re taken through a series of good and bad days, self-obsession and tortured thoughts. The world through this person’s eyes is full of squirming creatures, human and otherwise, destined for the slaughterhouse, the dustbin, ‘squelching late-night screenings’, or just dead, fossilised, taken, ‘yawning for air in their anxious hell.’ The narrator saves his harshest criticism for himself, who he sees behaving badly in some scenarios, and victimised in others. Catching the reflection of his face as he tortures a fish out of boredom ‘I hate myself, / loathing whatever thing is watching me.’ (‘Siamese Fighting Fish’). A game of pool is going well, and then: ‘He’s back, that version of me, / the choker who doesn’t deserve it. So I choke again’.
I found myself compelled onward through the sequence and really enjoyed the form – each poem just two stanzas of four lines each – there’s a loose narrative arc driving it and the sheer exuberance and creativity is wonderfully gripping. Not so much a romp as a yomp – there’s no missing the real anguish here, but it’s worked through with such wit and originality. Sin Cycle succeeds in being luscious, gruesome, poignant and hilarious somehow all at once.
Robin Houghton, Sin Cycle, a new poetry sequence from Peter Kenny
In Almost Famous, the fourth chapbook by the consummate literary citizen, Trish Hopkinson, we find powerful and painful coming-of-age stories crafted as poems. The book starts with a vivid depiction of her own birth, written from her perspective, and it carries forward into the childhood and teen years, and every poem packs a potent gut-punch. While there were parts of my own life that diverged widely from the childhood Hopkinson describes, there was enough here that was familiar and shared.
Karen Craigo, Poem366: “Almost Famous” by Trish Hopkinson
For me, the strongest parts of the book were the first and last poems. The first, “Third Day, Third Month, 1972,” describes Hopkinson’s birth, which included the use of forceps:
A doctor,
or a man rather, pressed
a tool inside her, like the back
of a soup spoon reaching in
to a bowl of cold grits,
fished around for my tender
skull, and excised me for comfort.
The image here — forceps in a birth canal as a spoon in cold grits — casts the birth scene into an otherworldly sphere, I think mainly because the grits are cold. What kind of birth is this? It’s such a small touch, but a smart poetic decision because of its perfect not-quite-rightness.
I was captivated by the intersection of motherhood, self, and humanity—including the monsters. Remember when I was connecting not living on earth with death in the first poem? Shortly past the halfway point, the book embarks on a long poem called “Starship.” When I say long, I mean fifty pages—a book within a book. Each page consists of two poems, or scenes, that lead the reader on a journey through relationships, time travel, and the stars. [Sarah] Blake’s style in this collection is narrative—a stance I admire because I think it’s hard to do without drifting into prose. And “Starship” is narrative at its epic best, its story line opening questions of desire, abandonment, choice. To avoid spoilers, I won’t say anything about the last line–but if you read the book, let me know and we’ll talk!
Joannie Stangeland, Saturday Poetry Pick: Let’s Not Live on Earth
Though it is not stated (it doesn’t need to be), the farmer in his wrangle with the earth ultimately produces food. The poet of course produces poetry, and as a poet himself, Williams suggests poetry is on the level of food. For Williams, poetry is just as much a necessary product of his artistic labor as edible crops are of a farmer’s sowing. In this sense, “The Farmer” can be seen to anticipate WCW’s own more famous lines in the much later “Asphodel, That Greeny Flower” (1955): “It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there.”
Mike Begnal, William Carlos Williams’s “The Farmer”
Speaking of memory and observation, how much I wish that I had trained mine more. How I wish I had employed that excellent method of looking at an object, going into another room to draw it, returning to refresh my memory, and so on, until that drawing was completed without it and the object ever having met, as it were. What a training for an artist interested primarily in character, who sees for a minute a face which, if he cannot draw from memory, he will never draw at all!
I believe I am right in saying that, ages before such a thing as photography was even guessed at, this was the method by which Chinese artists were taught … So developed did their powers of observation and memory become by this training that by shutting their eyes, opening them for the fraction of a second, and shutting them again, they could keep in their minds the visual image of what they saw long enough to be able to transfer that visual image to paper. It was in this manner that they were enabled to draw insects and birds in flight, and it is an indubitable fact that, when the camera was invented and ‘instantaneous’ pictures were produced, it was proved by comparison that these artists’ memorisations were perfectly accurate.
Ann E. Michael, Observation, memory, & art
During my first semester of my MFA program, Karen Volkman, who was a visiting writer teaching a craft class I’ve forgotten the name of, took us specifically to see the Cornell boxes at the Art Institute and I was hooked. I started writing about them, sneaking over to see them occasionally on my writing days (ie the days I had only classes and no library shifts). It was a time when the museum allowed pay what you can, and since I usually was there in the afternoon, I felt confident paying a couple bucks and wandering through the museum’s wings, but mostly hanging out around the Cornell boxes. Years later, the Institute built a monolithic modern wing and shoved all the boxes in a big glass case all together and basically ruined everything, but at the time, they were strung through a series of small rooms, which allowed you to encounter each one singularly. To sit down in front of the tabled ones. I spent a lot of time there, working over the next few years on what would become at the hotel andromeda.
It was while working on those pieces that I filed away my encounter with Dali’s Invention of the Monsters, which was hung in a room I had to pass through to reach the Cornells and had a bench upon which I often sat to jot down notes. While Cornell was icy blue and haunted, Dali was all wild and in flames, and just really weird in a way I appreciated. It took me years to return to that painting as subject matter., and when I did, it turned into a sort of meditation on the ghostly little blue dog in the corner and Dali’s own wife, who occupies the painting with him.
Kristy Bowen, ekphrastic desires
Lately I’ve been exploring my emotional response to rocks.
Does that say something unfortunate about me? Shouldn’t I be exploring my relationship to my long-dead father, or my inner fears, or why I hate my neighbors, or my notions of gods and the spirit?
Or is it all the same thing? Am I on some spiritual trip, a connection with the ineffable, that thing we humans can’t seem to resist, finding something bigger than ourselves? And in my case at the moment, LITERALLY bigger than myself — this glacial erratic my forest trail has led me to.
This giant boulder takes up space, it has a relationship to time, albeit far different than mine. It is a natural history of which I am a moment, one hand on the cool side of the rock, a sinew in the grand continuity of matter and energy, as far as we know. We are briefly together, erratic and I.
Marilyn McCabe, Like a Southbound Train; or, Writing out of the Animated World
seeing the stream
Jim Young [no title]
i throw a stone
into the sky
These letters, kite-string
Rachel Barenblat, Tether
or umbilicus: do they
tether you? When I
stop writing will you
dissolve, a water droplet
rejoining the flowing stream?
I am learning to navigate the dreaded Disneyland of CostCo. First I park a billion miles away so I won’t get hit by a car or one of those huge fucking baskets careening wildly out of control. Once inside I keep to the left of the store so I won’t get lost in the labyrinth of cheese and meat and bread and cleaning products and screaming children and goats and booze and bales of hay and coffins. Then I get what I need which is usually cheese and butter and cleaning supplies and while I’m doing this I smile at everyone. Smiling at people in CostCo freaks them out. Bad. Seriously bad. They look at me like I’m going to steal their purses or rip their lungs out with my enormous teeth. When I get to the 15 mile long checkout line I lean my arms on my basket and continue to smile. Today my checker’s name was Falcon. I told him it was a beautiful name and asked if he knew the Robert Duncan poem My Mother Would Be A Falconress one of my most beloved poems of all time. The first time I read this poem I almost fell down. I worship this poem. I memorized it right after I read it which is an old fashioned thing I still do. The poem makes my head burn like a church on fire. The checker Falcon had not read or heard of the poem so I wrote Robert Duncanthen My Mother Would Be A Falconress on a slip of paper and told him to Google it when he got home. So I held up the line for almost an entire minute. Sometimes you have to do it.
Rebecca Loudon, Outing
I called to God in the night.
Jason Crane, POEM: Imbolc
I knelt, I rose, I answered, I sang.
Beneath my shirt I hid my vow.
No one can say I didn’t try to keep it.
In this cone of silence just
before the dawn, the shadow
world is palpable: godsand monsters glide and crawl
by my garden gate. Half-dreams,
uncertain memories, dust devils rolling.Here and now, I sense, is the pagan
junction where all things meet:
skeletons into flesh, ghostsinto plasma, rumours, fears, the whole
Dick Jones, Insomnia.
arcana hard wired into the dark.
I was sleeping in the recliner chair like my Uncle Richard used to do. I slept heavily and dreamed of words that were made from solid objects of various shapes and sizes, and of many different materials. Words built from metal, wood, concrete, plastic, and so on. I was using tools to assemble these words into poems; a hammer and nails, a handsaw, a drill, nuts and bolts, a sander, and wrenches. The poems I built were as large as a man and crazy looking, but they read beautifully. The poems I built were better than any I ever wrote, but that isn’t saying much.
James Lee Jobe, I was sleeping in the recliner chair like my Uncle Richard
Anyway, yay, I survived, and even though I was a weirdo dental patient – a little out of the ordinary, the endodontist had to use a special filling, my root was shaped unusually, and all that no Novocain thing – everything was just fine. The funny thing was, they tell you not to sign any contracts or shop while you’re on the sedation drug, called Versed – but I submitted three book manuscripts that night, which I don’t remember, and bought two lipsticks and a shampoo – I guess it could have been worse! And a couple of days later, mostly sleeping I stumbled out into the rain…and found deer in the yard! They had munched on a bit of our camellias, but I guess that’s all right. And I’ve been trying to take advantage of all the sunbreaks and rainbows I can.
Jeannine Hall Gailey, Sunbreaks in the Rain, Surviving My First Root Canal, Finding Flowers in Our Darkest Winter Month
Who never tires of me?
Tom Montag, Who Never
This hermitage, my desk.
A few quotes + links (please click through!) from the