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Poetry Blog Digest 2023, Week 18
Cool stuff I found in the poetry blogs, reposted from Via Negativa
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. You can also browse the blog digest archive, subscribe to its RSS feed in your favorite feed reader, or, if you’d like it in your inbox, subscribe on Substack. This week: trees, book tours, literary envy, in defense of reading fees, and much more. Enjoy.
I watched the coronation of King Charles yesterday with my parents. My father remembers watching Queen Elizabeth’s coronation as a child in South Africa. What if we crowned a leaf? Made trees our king? Or better, leaves as our elected representative, a river as the head of state. What if winter made legislation, or springtime was the judiciary? Let’s make butterflies our police force, an army out of photosynthesis.
Gary Barwin, THE NEW KING
We broke that word. We let it fall, let
it shatter into infinite sounds. When
a word is destroyed, a tree grows
from every whisper, bearing
poisonous fruit. When a world
Rajani Radhakrishnan, Part 45
Let the trees give the valedictory
and the billows confer their tasselled caps.
Let the noon heat gild the heads of those
who’ve labored bravely, even with no prior
guarantee of reward. Let the procession
of bodies shimmer like a promise
that kindness and comradeship will keep
rising up like wildflowers in the fields.
Luisa A. Igloria, Commencement Day
I wrote 30 poems in 30 days again this April. As my writing partner, Heather, can attest–it was tough. There were some days I doubled-up, after missing the deadline the day before. There were some days where what I sent her was less poetic than some texts. At the end of the month though, I have 30 poems.
I’ve only just now started sifting through them. I had set out with the idea of writing a group of poems about You’ve Got Mail (the movie). I have already written 3 or 4 in that vein, and I wanted to explore it further. Instead, it looks like I mostly wrote about angels, scars, and birds. Ok. Who ever knows what will pop up when one is writing every single day?
Renee Emerson, NaPoWriMo Wrap Up
I am looking forward to writing full-time for a while now. Weeks or months, I’m not sure yet. I am literally compartmentalizing my time. I’ve started a new blog to write about how I am handling cancer treatment. And I’m continuing in this space (and there, too – and in so many others) with what makes me honestly feel happy and alive in the moments as they come. I once wrote a poem that said it was absurd to say that imagination is a good thing. But it really can be. It can be a source of good things.
Ren Powell, Rumors
May is much like the interior of my email inbox right now; varied and eclectic. It bridges this spring with its publication notices, publication opportunities to come, and the business of the day that needs tending.
I published “Of Paper Moons, Glimmered Words” in the Spring 2023 issue of October Hill Magazine. I’m happy to publish with them again. They assemble a sweet journal, and it was three years ago that I not only published in their winter journal, but was invited to read my work at an online reading. It was a cozy assembly and the kindness of editors during Covid is certainly an event and aspect that lingers even today. A wonderfully warm reading all the way around.
I have shared gratitude for the editors at Cosmic Daffodil Journal who published three of my short poems: “Untitled,” “Early Spring,” and “This Pot” in their Buds & Blooms issue.
My advice to you? Write on through all the delights this month will bring. Summer is all too short. Find all the ways necessary to collect, savor, and share those words.
Kersten Christianson, May and All
Spring creeps in a little further each day, raising my mood even if it’s still a little too chilly to have the windows open for long. I have been devoting some time to submissions and collages and procrastinating on final edits on the home improvements series of poems I worked on earlier this year (thankfully the NAPOWRIMO ones only require minor modifications but I have no idea what sloppiness I was victim to earlier in the year.) I’ve been finalizing the cover design for the next book and making fun little reels about inspos and aesthetics. I’ve been researching Mesopotamian bloody baby-eating goddesses and writing about Celtic Queens and cupboard doors and bathroom towels that won’t make you hate your life. In other words, much the usual.
Kristy Bowen, notes & things | 5/6/2023
I am listening to “The Wreck of the Edmund Fitzgerald,” which I only usually do “when the skies of November turn gloomy” (to borrow a phrase from the song). But Gordon Lightfoot has died, and it’s a gloomy May day, so the song fits my mood.
Of course, Lightfoot was 84 years old, and from what I can tell from the various news stories, he seemed to have lived a good life. He wrote amazing songs and had a good run as a performer. Lots of people will be reflecting on his life and appreciating him today, and plenty of us have been doing this for over 50 years.
His music is the background of my childhood, along with Neil Diamond, Simon and Garfunkle, and John Denver. Yesterday on my drive back to my seminary apartment, I heard John Denver’s live version of “Thank God I’m a Country Boy”–what a great song.
He also wrote songs that other people made more famous, like “Early Morning Rain.” I’ve been listening to some of those songs this morning. At some point, when I don’t have seminary papers to finish, I might do more reflecting on how this folk music formed my perception of what it would be like to be an adult–not because I listened to it as a child, but because I continued to listen to it in adolescence.
Kristin Berkey-Abbott, Gloomy Skies: Goodbye to Gordon Lightfoot
There are many blossoming trees in this glen – it started with blackthorn and plum, and is just about to hit its peak with gean and bird cherry, pear and apple. The celandines are coming to an end, but the yellow on the gorse is thickening up, there are wild violets on the Cairn footpath, and I am watching a clump of wild arum which is just about to open. It isn’t a rare plant, but I’ve never seen in elsewhere in Scotland, and judging by my instagram feed, it seems to be having a moment just now. The trees are in the first flush of bright green opening leaves, and the birds are louder each day. I don’t think I’ve ever seen so many goldfinches in my life! The rain has brought on the garden enormously in the last three days, and I’ve been planting and sowing tomatoes, courgettes, chillis, dill and coriander. […]
A big part of my poetry practice is connecting with the territory, and though I mostly concentrate on the plants wildlife and weather, I have become very interested in the history and the engagement of the community here, which seems much livelier than in the Forth Valley. Every spare bit of ground that lies unoccupied for more than a few months seems to have trees planted, and as I get to know the area, I am becoming aware of a lot of organisations dedicated to keeping the urban sprawl much greener than you might expect, such as the Friends of Holmhills Wood Community Park, or the Friends of the Calder. There is an active ramblers’s group, and plenty of walking routes, from the Clyde Walkway to the Rotten Calder path, which I mentioned in a recent post, and a lot of interest in the landscape and archaeology of the area. […]
I am writing more thoughts about poetry than actual poetry just now, as there seems to be some activity around Ceasing Never, which I hope to share over the next week or so, and a revised edition of my translation of The Charm of Nine Herbs is going to happen at some point, but after a much longer lull than I was expecting, new poetry is finally happening – look out for moon and fire poems, and some weird mythology.
Elizabeth Rimmer, Blossom Time
If there is anyone still out there who reads my stuff on here, thank you. I’ve been through many stages of hell the last few years and am slowly starting to get myself to a place, a new place that is more about creativity and shaking out the demons from my bones.
I’d love to start a newsletter as well as have you subscribe to my substack (which I plan on updating soon as well). […]
I want my work in your hands, eyes, teeth.
To me, it’s not so much about surviving to create. It’s creating to survive. I am here to be creative, and to share with others so that they know they’re not alone.
Jennifer E. Hudgens, I Don’t Know Where I’m Going.
After I’d spent time at my desk, tinkering with poems, writing a bio and acknowledgements, collating blurbs, giving feedback on a possible cover, I was happy to press ‘send’ and email everything to Helen Eastman at Live Canon.
“Thanks for giving me time and space this weekend,” I said to my husband, Andrew. “I’m pleased with my work and I’m sending everything off to Helen.” “You don’t want to sleep on it and send it tomorrow?” “No, I’ve done loads of work on this, it’s all done, I’m sending it off.”
Then time for some gardening after being deskbound for hours, stretching my limbs and planting sunflower, nasturtium and cornflower seeds saved from last year’s plants, plus some new seeds, basil, gypsophlia, sweetpea, cosmos, salvia. Who knows what will grow. The garden’s ready for No Mow May, my semi-wild flower beds are already bursting with forget-me-nots, dandelions, honesty, daisies, celandines and (I think) borage, herb robert and other not yet identified species.
Then, a good night’s sleep a little interrupted by doubts arriving in the night. What about that lockdown poem you haven’t managed to publish anywhere yet? Wouldn’t this be the perfect opportunity to include it? Could you swap out a couple of those small ‘seen-while-walking’ poems and replace them with this two page poem? Is this really the best order for these poems? Is that really the best poem to end the collection? Back to my desk and my manuscript for some rearranging. A hasty note to Helen to disregard my first email. Andrew’s saying nothing. Note to self: always sleep on it.
Josephine Corcoran, ‘Love and Stones’ my new chapbook coming soon
I’m once again a featured poet at the Gaithersburg Book Festival, an absolutely wonderful festival that is FREE and open to the public and has a wonderful list of authors who will be reading and discussing and taking questions. […]
On Sunday, 21 May at 5:30pm I’m reading with Reston Readings, a local reading series that is always delightful.
And last but definitely not least is my official book launch party at the end of the month!! […]
May is going to be wildly busy but I’m so very excited about it and hope to see you at one of these events!
Courtney LeBlanc, Book Tour: May
Hereverent has been thoroughly and lovingly launched!
My poetry & jazz book launch was fantastic on April 20 at PLNU. We had poetry, music, drinks, and dessert in this little parlor that makes me feel like a wealthy great aunt has invited me to tea. :) I’m so grateful to Brenda Martin for her gorgeous music and her fun improv collaborations! (And thanks to Emma McCoy for the photo!)
Then my virtual book launch for Hereverent on April 21 was also lovely. What a gift to hear poets I adore read my poems alongside theirs. I’m so grateful to Agape Editions for publishing and celebrating my book! […]
Finally in this countdown to launch, 15 of my favorite local poets read with me in my church’s sanctuary this past Saturday night, and I brought my favorite brownies (a recipe from my beloved dissertation advisor, Marthe Reed), and many more dear friends and delightful people came to celebrate my new book too.
Katie Manning, Hereverent Launches!
In celebration, I’ll be taking over BOA Edition’s feed on Instagram May 9th, 10th, and 11th so keep your eyes out for that! I’ll talk about inspirations, making cocktails, playlists, and more. I’m a little bit nervous because I’m not the world’s most confident Instagram user, but hopefully I have respectable posts and stories. Isn’t it funny that now Instagram videos are part of promoting a book? That wasn’t true the last time one of my books came out. Ah, how things change!
Here’s the truth about envy, judgement, and comparisons: the other person feels none of the bitterness, defeat, and ire you feel. You—exclusively you—feel the discomfort, and it’s a slow poison you mix with your own particular brand of injustice and insecurity, then self-administer.
At various misguided moments, we can come to believe that envy is a motivator. If that were true, feeling it just once would do the trick to skyrocket us into productivity and success. More often what happens is this: we feel discouraged, then immediately seek to buffer the feeling. Judgement, Netflix, potato chips: all effective buffers. None of these, however, is a catalyst for growth, development, or change. None is half as powerful as reading a book, sitting with a draft, or going for a walk.
You alone can make a conscious effort to ease yourself of these unnecessary feelings in 2023. How? By noticing them and calling them what they are. Then, by diffusing them by focusing on yourself. What is my envy/comparison/jealousy telling me about what I want? And how can I take the step towards what I want, instead of sitting here paralyzed by indignation, elbow deep in a bag of Fiesta Doritos?
Maya C. Popa, Progress Report: Literary Resolutions
Many agendas may drive the urge to bash particular writers or their works, among these envy, attention, pride, status, self-preservation, righteous indignation, or a sense that one needs to scramble to make space for oneself in an already small environment (“the literary world”). Even, dare I say, ignorance. I could speculate on reasons for unkindness until the proverbial cows come dawdling home, but I suppose it can be attributed to a kind of social Darwinism. People can be mean-spirited when threatened. Though exactly how the writing of poetry poses a threat to other poets remains a mystery to me.
Maybe I am a Pollyanna (entirely possible), but although I can recall some incidents and critiques that have stung me, there have been far more instances of generosity from fellow writers. While contemplating writing this post I sat back and decided to count how many fellow writers have extended courtesy, respect, useful advice, helpful criticism, networking and publication leads, encouragement, and the sense that I’ve “been seen”–acknowledgment as a writer–and I found the list was long. I considered listing names, but there are so many…and I was afraid I’d inadvertently overlook someone. I consider this an excellent “problem” to have.
Granted, some stings have been…memorable. However, I’ve been writing and publishing poetry and related prose since the early 1980s, so there have been many years during which I’ve had the joy of connecting with other writers in generous ways. Writing is both a large community and a small one, depending upon where I am in my own life: local at times, semi-isolated other times, and then–thanks to social media platforms, with which I have love/hate relationships–national and international!
As I get ready to pull back a bit from my work in the realm of higher education, I hope that the lessons I have learned about being generous to my students, gently encouraging while pointing out areas to keep working on, will stay with me. My feeling about poetry is that there’s certainly room for more of it in a world which can be harsh, and that acknowledging other humans’ urge to express their awe, fear, grief, passion, love, anger, and perspective won’t actually harm many of us.
Ann E. Michael, Generosity
Publishers aren’t charity operations (though it often feels that way), despite the enduring myth that there is something noble and good about the literary industry. It’s still a business, and it’s still operating under the same suffocating tenets of capitalism that writers are. Lumpenproletariat or not.
Alas, the writer’s personality consists of the yin and yang qualities of self-hatred and self-aggrandizement. It is the latter quality that so often comes into play when they submit a piece. They think their writing is special or “god’s gift” and that it should therefore not only be immediately accepted, but that the publisher should waive any fees for the sheer pleasure of reading their work. But newsflash: reading submissions is not a pleasure. About five percent of the pool will actually be enjoyable. It’s that five percent that keeps the publisher going. Fighting the fucking windmills while the schlock in The New Yorker is touted as some sort of literary high standard.
Genna Rivieccio, On Submission Fees and the Belief that Publishers Are Pirates
This particular advert, however, seemed seriously weird. It wanted an exceptional poet and tutor to be a part of a happy and successful team. Happy kept cropping up. The school, it said, is a happy place. It provides a happy environment.
The candidate it said would be an established member of the literary world (so one of the boys and girls, then) with an excellent academic background, a PhD in English or Creative Writing (naturally, what else would you expect?), and experience of teaching at graduate level. Blah-de-blah. Highly skilled. Blah-de-blah. Supportive, Understanding. Blah-de-Blah.
Ok, fair enough, I wouldn’t get in. I’m not qualified. I don’t mean academically, though that’s true. My ancient BA Hons is nowhere near good enough, even if I knew where the proof of it was. No, it’s the happy bit I couldn’t do. I doubt I could even do it at the interview (not that I’d get one).
I grew up in journalism, grew middle-aged and grew old in journalism. We knew what happy was, especially when we’d had a drink or four. We knew what angry, passionate, bad-tempered and noisy was too. When we wrote, we wrote alone. We wrote in doubt, asking ourselves questions, trying to get what we wanted to say down as best we could and as truthfully as we could. We were alive. Are these people in that supportive, understanding, positive, constructive, happy world really alive?
Back in August of 2022, I wrote the blog post, Browsing the Archive on a Summer Afternoon, in which I talk about my pleasure at revisiting my collection of journals that have published my work over the years. I realize that I neglected to point out something very important: writers should read all of the contributor’s copies they receive.
I do mean all. If you primarily write poetry, then of course you should read all of the poetry, but don’t stop there. If the journal includes fiction, reviews, and essays, read all of them too. If you write prose, read the poetry! As Virginia Woolf wrote, “The impact of poetry is so hard and direct that for the moment there is no other sensation except that of the poem itself.” Woolf wrote prose, but she definitely “got” poetry. Poets dream of readers who appreciate their craft with such deep understanding.
Reading every page of your contributor’s copy, whether in a physical journal or online, connects you to a community of writers, because each journal is its own community. I sometimes imagine the other writers who sent their work to a particular publication at the same moment as I did. What were they doing just before they hit “send” or “submit?” It’s entirely possible that some of us sent work simultaneously, our words traveling through the ether and arriving at the magazine’s inbox at the exact same moment. There’s a kind of mystery about this process that’s always intrigued me.
I will be reading next week at Shelton Timberland Library with poet friends Cathy Warner, Gary E. Bullock, and Dan Coffman (and maybe a few other Washington poets if it works out!). Cathy Warner and I have been friends since 2012 when we both found ourselves new to Bainbridge Island. While she and I have both moved about since then, our poetry friendship has stayed intact. Gary and Dan are new poetry friends who I met in a workshop class with poet Gary Copeland Lilley and whom I have not met in person due to COVID, but will now be able to meet in person! It is not hyperbole to say all my poet friends and connections are what got me through those long three years of isolation. Come and hear us read. Come celebrate our connection to poetry and each other.
Carey Taylor, Upcoming Reading!!
It’s not just the practical blocks – lack of time, being interrupted etc – it’s the psychological blocks, and the societal blocks that prevent people, particularly older women, from writing. There is a prejudice in society that says that older women are, at best dull, at worst invisible. When I searched the stock photo database, pexels, for a header photo for this post, I searched ‘older woman writing’ and found virtually nothing. When I searched ‘older man writing’ I found plenty. When I searched ‘writer’ I found plenty of young women with beautiful nails holding pastel notebooks, and lots of older men at gnarly wooden desks grumpily screwing up pieces of paper. I use this as an example because these stock photos are the pictures that the media uses as an example of what is present in society: as examples of products, as examples of aesthetic lifestyles to strive for, as examples of, you might even say, what is the acceptable face, or the seen face, or the most associated-with face, of a product, a person, a genre, a section of society.
We know older women writers exist. Just looking at my own over filled bookcases I can see them everywhere – Hilary Mantel (God, I miss Hilary Mantel so much) Margaret Atwood, Maggie O’Farrel… but somehow the perception still seems to be that older women at the beginning of their careers, those not established yet, do not exist.
Wendy Pratt, How to Give Yourself Permission to Write
But the important part here is the student loans, because those things literally made it possible for me to go to and stay in college. See, that full-time job paid maybe $10 an hour, which was okay money for working in Hammond, Louisiana in 1995 but not enough money to support a family and pay tuition, and really wasn’t enough money to support myself as a newly-single person, pay tuition and pay child support.
So I took out loans, every one I could get, and for the next four years as an undergrad, I would start my semester in line to pay my tuition, get two checks for the balance over what my tuition was, and immediately sign one of those checks over to my ex-wife. Pretty much the same for my grad school experience.
So now it’s 2005. I’ve got my MFA, I’ve just done two years at Stanford as a Stegner Fellow and I have my first full-time university teaching job. I’m a lecturer at Florida Atlantic University teaching a 4/4 and making $30,000 or so a year, which is more than I’ve ever made per year in my life at the time, and which is not enough to live in south Florida, not really, so I go into economic hardship deferral until that time runs out and then forbearance and at some point in there, there’s a program that allows you to pay based on your income and also we move to Iowa because Amy gets the job she has now at Drake University. I’m making payments, but they’re not large enough to even cover the interest and if this part of the story sounds familiar that’s because there are a lot of people in similar boats.
Brian Spears, A little personal news
What appears to be a simple poem covers so much ground…Masculinity, memory—both positive and the (I think) implicit nod to poverty at the end in ‘the hungry roots beneath’. It’s an entirely different poem, but it puts me in mind of Paul Farley’s poem about Treacle. I love the musicality of the poem, particularly in the first stanza, and I raise a pint of Kingfisher (NB I mean cup of tea—it’s now 7.30am) to the internal rhymes of ‘furnaces’ and ‘curry houses’. We’ll also give ‘curve and ‘trove’ and ‘pucker’ and ‘nutter’, a respectful nod too.
I bought this book from Andy via Facebook a year or so ago, so my apologies it’s taken me this long, but I was hooked in by him saying it was pretty much his last copy. Take note: I’m an absolute sucker for that so, so make sure you use the scarcity bias[.]
M Archive: After the End of the World by Alexis Pauline Gumbs is a stunning collection of poetry. Inspired by M. Jacqui Alexander’s Pedagogies of Crossing: Meditations on Feminism, Sexual Politics, Memory, and the Sacred, a transnational black feminist text, Gumbs envisions humanity at the end of the world. While there is struggle, this is not the typical depiction of humanity as viciously and violently struggling for survival, but a vision of humanity as transformational. As the environment and world shifts (due to human causes), humanity takes to the dirt, sky, fire, and sea, creating new communities and ways of being. It’s a beautiful, compelling and hopeful depiction.
Andrea Blythe, Culture Consumption: April 2023
‘Snow’ does all the right poemy things. The sounds match the sense. The world is busy, busier than we realise and so is a phrase like ‘soundlessly collateral and incompatible’. Then there’s that tangerine. The words come down to single, propulsive syllables, so that you almost have to spit to say ‘spit the pips and feel’. But there is a deliberate unpoeticness to ‘Snow’, too, an awkwardness of phrasing and language, and this is one of the things I like most about it. (That and the refusal to explain: why is there more than glass between the snow and the roses?)
Jeremy Wikeley, incorrigibly Plural
This poem began in my car with my kids sitting together in the backseat. As we sat at a traffic light, watching some workers cut the limbs off a tree, my daughter said the body of this poem in almost these words exactly. I don’t recall if I wrote it down (or typed it into the notes app on my phone) right away, or if I remembered what she said and wrote it down later, but the process involved paring down the description to its essentials, looking carefully at line breaks and opportunities for music, and maintaining her voice the best I could (“the sky’s like finally” is one of those moments, but I also love the long I assonance in that phrase). I think the pauses after “branch” and “blue” are doing a lot in the poem. Those line breaks slow down the pace and give the reader time to reflect. I see the break between “branch” and “hits the ground” as enacting the branch’s fall and landing.
I found this idea comforting when my marriage ended: When something is gone, it makes space for something else. In this case, the tree losing its limbs made space for the sky. The view changed. My perspective changed with it.
Maggie Smith, Behind-the-Scenes Look: Two Related Poems
This is observational humour at its best: the humour of recognition. Waldron catches those unguarded moments that betray our weaknesses; he observes and reports the embarrassing that we would rather not admit to; he exposes those frailties that make us human. For example, The Sweet Smell of Failure is a cautionary tale which shows the romantic consequences of not changing one’s underpants regularly; Digging in my Archives explores a life of pretensions; Valentines Day tells of a major romantic failure; and Shop (lift) Local exposes the limitations of our moral compass when we’re offered a bargain. There is something of us all in these poems. In his drop-in Waldron describes the imagined persona narrating the poems as a ‘37-year-old man’. Yet there is something universal about these poems. When we laugh at him, we are laughing at ourselves, man, or woman. In fact, there is something of ‘Everyman’ about these poems, but without the moral imperative!
Nigel Kent, Review of ‘My C&A Years’ by Roger Waldron
A follow-up to the creative non-fiction and poetry title Album Rock (Portugal Cove-St. Philip’s NL: Boulder Books, 2018) is St. John’s, Newfoundland poet Matthew Hollett’s full-length poetry debut, Optic Nerve: poems (Kingston ON: Brick Books, 2023). Through an assortment of first-person poems set in a lyric simultaneously narrative and cinematic, Hollett offers a descriptively-thick and finely-honed intimate portrait of east coast space. “It took two of us to haul the river out of its box / and wrangle its segments together like vertebrae / or slabs of sidewalk. As rivers go,” he writes, to open the poem “Waters Above and Waters Below,” “this one had been / stepped in more than twice, its leisurely ripples and eddies / scuffed with footprints from small armies / of schoolkids.” Hollett works his lyric as a way of examining small moments of time, comparable to how Michael Crummey wrote contemporary and historic Newfoundland through his Passengers: Poems (Toronto ON: Anansi, 2022) [see my review of such here], or how Michael Goodfellow wrote his personal Lunenberg County, Nova Scotia through Naturalism, An Annotated Bibliography: Poems (Kentville NS: Gaspereau Press, 2022) [see my review of such here]. One could say that all three of these poets are simply following elements of Newfoundland-based poet and editor Don McKay [see my review of his 2021 collection Lurch here], and that would be entirely correct, each writing their own small perceptions through carved lyric observations. Weighed down through the dark, there is significant and even pragmatic light in these lines. “If you find yourself lost,” the poem “Coriolis Borealis” begins, “try not to walk in circles. A forest / is an aura of revolving doors, every spruce or fir is / a celestial body that wants you in its orbit. For the first / twenty-four hours, you’d be wise to stay put.” Across his densely-packed Optic Nerve, Hollett writes short moments and scenes, fully aware of the differences in seeing and perception, writing narratives many of which are centred in and around Halifax. “In Halifax it greets me like a gauntlet of bear traps.” he writes, to open the poem “Shipshape.” “Sidestepping swollen potholes on Quinpool, I pass a traffic island / with its mascara of snow, a bicycle wheel crushed into a taco, / a bird’s nest asquint with icicles.”
rob mclennan, Matthew Hollett, Optic Nerve: poems
There’s a primarily Anglo-Saxon obsession among so-called experts with attempting to turn wine into a dry, dead subject, to reduce it to exams (WSET/MW stuff) and points (Robert Parker, etc).
And then there’s the marketing ploy, often used by pubs and restaurants, of flogging wine by grape variety. This supposedly makes everything easier for the consumer to order once they’ve decided that they like, for instance, Sauvignon Blanc, in an impossible struggle to simplify things. Of course, such a strategy ignores the vagaries of soil, climate, grower and winemaker, all of which mean that there a huge gamut of Sauvignon Blancs. Many of them barely resemble each other in a comparative tasting.
Much the same could be said of poetry. It too is a slippery, incredibly complex subject that defies repeated critical and academic attempts at pigeonholing and classification. Poets are categorised but they defy those labels on a regular basis because the genre is alive and constantly shape-shifting.
In both poetry and wine, the more you know, the more you realise you know nothing.
Matthew Stewart, Pigeonholing in wine and poetry
Sure. The whole project misconstrued or misconceived.
Thunderstorm at dawn: deep dark with lightning,
and now a morning pretending nothing ever happened,
but a gore of draggled blossom spread across the walk.
Dale Favier, Making My Heart Beat
My chalkboard poems alternate now between humor and sad nostalgia with images from the natural world, spring blooming all around, and a subtext of the long goodbye. Last night, a woman asked if I was still writing poems and if I had ever been in the New Yorker, which reminded me of a fairly recent personal rejection from the New Yorker asking to see more, and my inaction upon that. Uh oh. “I want to see you in print,” the woman said, and I realized again how few people, even those who love me, know that I am very often in print, or in online magazines, and have several chapbooks out there in the world. But I do feel loved and appreciated, especially for the chalkboard poems, which are short and connect to people’s lives. I love those people back.
Kathleen Kirk, Candy House
no memory of
the moment of
tissue and salts
have gone to
gone to earth
make a brave
still into the
of flight as if
they might still
know the air
Dick Jones, wing.