Deborah (of 32 Poems) invites interested persons to write a poem a day for the next 30 days. The invite was sent out on Sunday (and I didn’t read it until today… so, I’m a bit late), but I think I’m up for the challenge. Anyone else?
Read more details about the challenge here: 30 Poems in 30 Days.
When I mentioned earlier today that you should join the Traveling Bonfires tonight at Malaprop’s, you really were invited to join the reading. Two of the three poets were unable to show up for tonight’s reading. The emcee of the poetry reading and founder of the Traveling Bonfires invited anyone in the audience to read poems. He asked me to read my poems as well.
I wasn’t prepared to read; only to listen. But no one else came prepared to read. So, I frantically dug into my old messenger bag and found two poetry chapbook manuscripts by other poets. For a brief moment I thought I would read from their manuscripts, but I didn’t want to read poems that weren’t ready for the public. Sandwiched between loose papers and a copy of Selected Cantos of Ezra Pound and Narrow Road to the Interior was my red notebook containing poem sketches and revisions. I had half of a thought to read selections from Pound and Basho, but in my notebook I found six poem sketches and revisions to test in front of an audience.
The moral of the story is this: always be prepared to read your poems and if you’re a poet in the Asheville area (or if you’re a poet traveling near the Asheville area) contact me or the Traveling Bonfires (travelingbonfires@yahoo.com) and we’ll find a space and a mic and a crowd of listeners.
The last few weeks have been chaotic and I’ve had a challenge focusing on the garden project. The goal is to build six wood container boxes. But my weekly lumber allowance disappeared rather quickly; cost more over $17 to build two 4’x4′ boxes. The other challenge is the composting I did in the fall of ’09 only filled one box. So know I have to spend a few extra dollars purchasing topsoil.
Since I don’t own a motorized tiller, I resorted to a very old method of preparing the soil for planting. The New Self-sufficient Gardener by John Seymour offers an old English tradition for raised beds preparation. Basically, get a spade and dig down 6 to 10 inches and flip, or turn, the soil. After turning the soil in each box, I used a garden weasel tool to break up the soil even more. Finally, I added about two to three inches of topsoil before I began planting marigolds around the perimeter of the box. One source I read stated that marigolds provide an organic pest repellent. This is the first year I’ve used marigolds in the garden.
This weekend I received a letter in the post informing me that Free Lunch is closing shop. The news really disappointed me for two reasons. One, I was hoping to have some poems published. Two, I reviewed an issue of Free Lunch for Small Press Review and really enjoyed the publication. Some literary/poetry publications are dense with inaccessible poetry and my work doesn’t seem to fit. But Free Lunch felt like a good fit. Here’s an abridged version of the review I submitted to Small Press Review:
Free Lunch presents an engaging 20th Anniversary issue. Unlike many poetry magazines that contain a smattering of good poems and a couple great poems, the Spring 2009 issue of Free Lunch collects stellar work by Billy Collins, Stephen Dunn and many others. It is my habit as a reader to dog-ear pages in books or magazines that elicit some sort of physical response; like smacking a book on my knee and saying “yeah” to the amusement of fellow bus riders. Lyn Lifshin writes, “I love the sense/ of her contentment/ feel it moving/ inside me the/ way when a/ poem works…” in her poem “Writing a poem is like why and when a cat purs.” In “Advice from a Pro,” X. J. Kennedy writes, “I vowed to make my work intensley sober.” There are many great poems by poets Roger Aplon, Denise Duhamel, and others. And, in short, my copy of the 20th Anniversary of Free Lunch has almost every page dog-eared with praise.
“Saturday Night, Coffee House” by Matthew Mulder
The awkwardness is complete—
strangers sitting side by side
with nothing to offer but body heat
on this cold winter night;
and the only thing that
connects us is my brother’s wife
and the wooden bench we sit upon.
Conversation is embarrassingly
fumbled with references to
the chai we sip;
and at long silences we sip
more chai and look
around the coffee house
for more material to
discuss,
or some distraction
to fascinate our senses.
(Originally published in Rapid River Magazine, April 2004.)
[link]
Coffeehouse Junkie Podcast: An excerpt from Gregory Orr’s essay “Four Temperaments and the Forms of Poetry” will be read on today’s podcast plus an short poem.
// ‘How One Writes in the Haiku Moment:
Mythos vs. Logos’ (http://www.roadrunnerjournal.net/pages92/essay92.htm)
// i woke up from a dream in which coleman barks & i read sufi poetry in translation together…
// & now, a hafiz moment… ‘ever since happiness heard your name, it has been running through the streets trying to find you.’
“[Khalil] Gibran’s ‘masterpiece’… turns not so much upon poetry as upon the genre of wisdom literature and its subgenre, the aphorism, which holds a particularly valued place in Arab culture. Like all good aphorists, he uses language that is both plain and metaphorical; it invites understanding yet in a way that brushes against the mysteries of being alive. There’s no doubt that the style occasionally ascends into comical elevations, and that its high tone seems lost in the ironies and specificities of American life. But that sort of spiritual homelessness pretty much describes a large swath of immigrant life.” (via poetry & popular culture)
// oh, insomnia, thanks for putting the recent issue of the american poetry review in my mailbox today-gives me something to read at 1am…
// i’d rather be reading hafiz; ‘we should make all spiritual talk simple today’ (http://www.powells.com/biblio/1-9780143037811-0)
// just returned from the BMCM+AC poetry reading wordfest event… two hours until the next reading at jubilee…
// drunk on sufi poetry from the reading/performance by Thomas Rain Crowe & Coleman Barks… the hangover should be delicious…
// weird. fell asleep reading an ezra pound bio and woke up thinking i’m late for class.
// i didn’t know ezra pound had wisconsin connections… chippewa falls connections at that.
With the market plunging, here’s two encouraging items to consider as a poet:
1) “The state’s jobless rate began the year at 4.9 percent and has steadily increased since then. It stood at 6.6 percent in July.” Link The unemployment rate in N.C. is presently 7 percent.
DO NOT try to make a living writing poetry. Keep your day job (and your night job, too).
2) In the Asheville area, almost $400,000 was donated to political campaigns.
NONE of that money was spent on your livelihood as a poet, buying your poetry books, or purchasing coffee and other goodies at your public poetry readings.
Gary Sullivan on poetry book cover designs:
“Stephen Paul Miller’s Skinny Eighth Avenue… has enough design problems to send me quickly in the other direction…. screams not just DESKTOP PUBLISHING but PRINT ON DEMAND.
“In the 60s and 70s, amateurish often meant a simple type on a white cover with a hand-drawn black & white image. These items often have a kind of funky charm, and sometimes even elegance, to them…. With the rise of desktop publishing in the 80s, things began heading south. Link
Avoid scaring off potential readers with “desktop publishing/print on demand” covers and hire me a professional graphic designer.
Next week, I start another 30-day Poetry Marathon… I’ll write one poem per day.
Deborah Ager. Link.
Sunday, I had the opportunity to sit in the WPVM studios during a broadcast of WordPlay. Katherine Min read from Secondhand World
From The Times:
The Prince of Wales has watercolours, it’s true, but it’s hard to imagine him getting to grips with the waka, with its 31 syllables, strictly arranged into five lines in the 5-7-5-7-7 structure. Akihito and Empress Michiko knock out four waka apiece for New Year’s Eve as well, reflecting on the year just gone by, and this year’s offerings were helpfully put out in English by the Imperial Household Agency last week. Translating poetry is notoriously difficult and the waka usually come out sounding as poetic as the instruction manual for a vacuum cleaner. Link.
Maybe if I translate my grocery list into Japanese it will sound poetic.
Brief review of last night’s Warren Wilson College MFA faculty reading.
Marianne Boruch
Charles D’Ambrosio read a lengthy, intriguing piece that I assume is the opening to a novel. When he finished, I wanted to shout, “What happens next?”
Van Jordan
Michael Martone
As promised, some highlights from yesterday’s Maurice Manning
The lecture centered on “Some Thoughts on Sympathy.” Maurice began by defining sympathy. First, it is not the “I feel your pain” emotion that is manipulative, fake and inaccessible — a show of feeling rather than creation of feeling (i.e. the desire that you feel me feeling your pain). Sympathy defined as honest feeling, common understanding — as in “two beasts bound together” like oxen — of suffering.
Maurice cited the Romantic period as the historical place where sympathy in literature is born — where the outward reaching heart surveys the humanity of the world and returns to the mind where it is changed, sympathetic, and reaches outward again. “Isn’t that what we seek in poetry, to be changed?” Maurice asked. From there he presented the two-step machinery of Romanticism — heart and mind cycle — using the physics examples of sympathetic motion in plucked strings and pendulum motion.
This is the part of the lecture where I was deeply engaged. He went deep into physics and linguistics to make the point that sympathy occurs naturally — it is part of our nature. It is the transfer of energy from one property to another, one person to another, from the page to the spirit. This is the kind of lecture that challenges me, resonates with me, makes me want to go deep. I’m starved for it.
Maurice used Robert Burns’s poem “To a Mouse” and Coleridge’s “Frost at Midnight” as examples of sympathy in poetry. After an in depth analysis of the linguistic patterns of “To a Mouse,” he concluded his lecture by stating that the poets he referenced found the self in these poems. “We’re always yoked to something…” he said. “The mysterious force of the poem stays with us even after we have closed the book.”
The applause was loud and seemed not to affect him as he paper clipped his lecture notes. As the applause subsided he quietly stated, “I guess it’s lunch now.”
…was ARGH-sum!
I arrived at Warren Wilson College’s Fellowship Hall a few minutes early and waited for the earlier session to conclude. First one out the door was none other than Steve Orlen
I’ll provide highlights from Maurice Manning’s
Did any of ya’ll out there make it to Maurice’s lecture?
Coffeehouse Junkie 