The Only Song We Have by Lawrence Kessenich

Review of The Only Song We Have by Lawrence Kessenich

Published by Pierian Springs Press, Sheridan Wyoming. 2026

Review by Marcus Breen

Creative lives offer insights into the human condition that are not replicated elsewhere. No one reads a biography of a business executive to discover insights about the meaning of life and relationships: at least I don’t. Then again, if I was obsessed with learning the nefarious ways of making money by robbing the poor and enriching myself, then business biographies would take me to the ethically challenged world of all-money-all-the-time, or more technically “economism.” Somewhat ironically, artists and creative people offer insights to the human condition because their work reaches the public through the commercial processes of business.

In contrast, this well-conceived short novel by Lawrence Kessenich illustrates the way in which artistic creativity takes a front seat among those artists who make outstanding contributions to the history of human development and knowledge, while necessarily accepting the less savory work of business. Without the business, it would be unlikely that much attention could be drawn to the artwork, leaving it unsold. This connection to the market, makes the artists’ reputation, and often is the source of an income with which to manage the daily routines of life. Consequently, behind every great sculptor and poet is a committed business network, informed by someone who “gets” the work and commits to promoting and commercializing it.

Of course, as the wonderful, late Australian art critic Robert Hughes pointed out, sometimes the market is the most foolish force at work in bringing ideas to the public that amount to rubbish. Hughes’s excoriating criticism of the “artist” Jeff Koons remains a touchstone for those interested in making distinctions between art as a response to the living world and commercial dross dedicated to decorating over-priced corporate offices.

No such dross is offered in Kessenich’s writing about the relationship between the Austrian poet Rainer Maria Rilke and the French sculptor Auguste Rodin. Artistically, the story Kessenich lays out, offers imagined self-analysis by Rilke of the relationship between himself and Rodin, two very different men who became friends and colleagues between 1902 and 1907. They both worked with and were promoted by art dealers and publishers who saw the brilliance of their work and brought it to the public. By the time Rilke met him in 1902, Rodin was well established, even a European celebrity as a sculptor.

This was an era in Europe when the world of art radiated in, around and from Paris. There was good reason for this, as Kessenich describes Paris in the mind of Rilke, as the magnetic force in European and western artistic creativity. There is good reason for this.

Paris was the foundation place of emancipatory politics, much of it grounded in revolt, committed to removing the feudal system of slavery and monarchical authoritarianism, replacing it with democratic systems of government that continue to resonate today. The political climate that fed Parisian creativity included The Rights of Man by Thomas Paine (1791-1792), a book that contributed to the foundational theory of French and American democratic ideology, published before the first mass working class effort to establish European communism in the Paris Commune (1871). In the latter case, Karl Marx was present through his journalism and his theory, while Fredric Engels’s advocacy for popular government “by the people,” reinforced the power of the revolutionary urge beyond Europe.

Although there is none of this radical political detail in The Only Song We Sing, there is a profound engagement with radical materialism, translated to artistic representation. This occurs through the sculpture of Auguste Rodin. In fact, Kessenich uses descriptions of Rodin’s sculpture-making method to explore the way art makes meaning through the appeal to the material world Rodin experienced then brought to life in clay and bronze sculptures.

This sensibility of experience translated to static imagery, is what makes art either a creative act of resistance in reconceptualizing the human condition, or when it is missing, merely decorative dross. Kessenich describes the divergence between the two characters in this book by drawing on this comparison that drives the dynamic of the characters’ relationship. Put schematically,

Rodin is the materialist, working with his hands to give the clay he molds the representational quality of his experiences. In contrast, Rilke is the idealist, writing poetry from the lofty perch of Germanic disengagement with experience. The book turns around these two philosophical modalities of art practice and theory: materialism and idealism.

As Kessenich has Rilke note in a personal reflection: “For years, I had ignored the physical world, living purely in the realm of thought and feeling and spirit.”

This materialism has a sensuous elements. Rodin had intimate relations with many of the female models who posed for him, suggesting that he was a serial philanderer in a somewhat negative light. Kessenich offers a kind of American morality to this aspect of Rodin’s story. This is aspect of Kessenich’s interpretation of Rodin fails to fully comprehend the uninhibited instincts of the materialist Rodin. He was not married, and as a free man engaged in the realization of the erotic relationships translated into sculpture. There is a kind of puritanism at work here that rejects the urges of lust and desire by Rodin, however much it might be unpleasant to the modern moral mind.

Despite this the relationship between Rodin and Rilke is based on mutual admiration, colorfully traced in The Only Song We Sing. Indeed, the book offers a contemporary vision about the creative communion between two outstanding artists and how they navigated their lives, leading to the curious arrangement in which Rilke became Rodin’s live-in administrator-secretary.

Rodin becomes something of a mensch for Rilke, because he encourages Rilke to write, and more importantly to work like he does, almost non-stop. Kessenich has Rilke ponder:

I was taken aback that the Master would speak about writing poetry, having never written any himself. It is one thing to reproduce or interpret things in clay, marble and bronze, to create something so boldly physical. It is quite another to sift thoughts through the brain and put abstract words on a flat piece of paper. That act was so much more detached from the world, so much more fleeting, so much harder to “work” at, in my experience, because it was so ineffable. I wished I had the talent to form things with clay, to sculpt them from stone. It was so much more “real.” Could I learn from him how to see the world anew? Would the poetry sing itself through me if I could truly see?

Written in the first person – as if Kessenich is Rilke – the story unfolds as the two artists meet and get to know and appreciate each other. It becomes increasingly apparent to Rilke that Rodin’s work is created as an extension of the material world defined by his experiences, this seems to Rilke to be a revelation. The imagined conversations between Rilke and Rodin and Rilke and Rilke’s companion Rose, among others, take place mostly in Rodin’s home and studio in 1902 in Meudon, France, then in Rilke’s mind during his retreats to Paris to write poetry, all while planning and collecting material through interviews and observations of Rodin for a biography.

The tension that emerges in Rilke the poet, as he grows to comprehend what Rodin “the Master” draws on for his inspiration, is effective, if at times unnerving. The material world is something Rilke learns to interpret, by watching the Master.

A serious quibble arises in the language: who these days would want to refer to a great person as “Master” as Rilke does? (For example, not even President Donald Trump’s most ardent MAGA followers take on that disposition). More tellingly, the use of the word “Master,” references the last days of feudal hierarchical relationships. Rilke is corrected to stop referring to Rodin as “Master,” yet almost cannot help himself.

What is more telling for the philosophically inclined, is that the Master-servant relationship was a key aspect of the 1807 book, The Phenomenology of Spirit by the German idealist philosopher Georg Wilhelm Friedrich Hegel. His “invention” of modern ideas about contradictions as the dialectic, emerged from this study. It is difficult not to believe that Rilke was not playing a little with the idea, as Kessenich has Rilke use the word “Master,” and as it transpires, Rilke becomes something of a slave in the sculpture’s home.

Rilke’s interest in Rodin was partly instrumental, a function of the need for the poet to make an independent living, rather than reply on funds from his father, so that he could write poetry. In fact, it was not as a poet, but as a journalist biographer and commentator that turned Rilke’s hand in a commission to write a Rodin profile that took him to Meudon. This proved to be a welcome turn in the poet’s career, because the book he produced about Rodin became a best

seller across Europe. It also became part of an elaborate series of artists profiles, known as Lives of the Artist Series (still available), with Rilke’s Auguste Rodin one book in the series.

In effect, The Only Song We Sing serves as an introduction to Rilke’s book, August Rodin. Certainly this was the case for me, as I sat out to write down this review.

Re-released in 2004 with a superb introduction, “Rilke’s Rodin” written by Willian Gass, Rilke the writer is revealed with all of his elaborate language elocutions at work. He can be read as the man who Kessenich describes becoming worldly, and as such a materialist, or at least conscious of the value of the world of relationships, objects and contradictions. Here is Kessenich’s Rilke:

You changed my life, Master. You made me learn to stop and truly see the world, to take it in, and reflect on the physical. And that is now being reflected in my poetry. It’s much more grounded. My poems more often revolve around things in the world, instead of abstract ideas in my head. (66)

The end of the story is a testament to the generosity of Rodin towards Rilke. More than educating him about the “real world,” which could then inform his poetry, Rodin showed Rilke a level of generosity and care that is wonderful to consider. After employing him as administrator and a kind of business partner in his home, paying him while encouraging him to continue to write poetry, Rodin then “fired” Rilke so that he could return fulltime to writing poetry. This is how Kessenich presents the story, suggesting that Kessenich too sees and admires the humanity of Rodin, when today, he might otherwise be considered less than remarkable because he employed Rilke to do his business.

For his part, in his book Auguste Rodin, Rilke refers to love. Rodin “learned to embrace this Life with ever more faithful love. It reveals itself to him as if he had been initiated, no longer concealing itself from him, beyond any sign of distrust.” (83)

The collaborations bore incredible fruit for Rodin and Rilke. And now Lawrence Kessenich adds his wonderfully rich contribution.

***********   Marcus Breen is a professor of communications at Boston College.

Ibbetson Street Literary Magazine: A Comprehensive Report on Its Enduring Impact and Editorial Vision

***** AI generated...

Executive Summary: A Pillar of Contemporary Poetry

Ibbetson Street Press and Magazine stands as a vital and enduring voice within the contemporary small press poetry landscape, distinguished by its commitment to accessible yet profound verse. Founded in 1998 , it has consistently published poetry that is "not too abstract," emphasizing "simplicity, economy-of-words," and a strong grounding in the "everyday" experience. This editorial philosophy has allowed it to cultivate a unique niche, appealing to a broad readership while maintaining artistic integrity.  

The magazine's long-standing presence, coupled with national distribution and critical acclaim from prestigious journals such as The Boston Globe and Harvard Review, and its inclusion in the Index of American Periodical Verse, underscores its significant impact on the literary world. Under the passionate leadership of its founder, Doug Holder, Ibbetson Street has attracted a diverse roster of contributors, from Pulitzer Prize winners like Ted Kooser to a wealth of regional talents, and has forged meaningful community partnerships, notably with Endicott College. This report delves into its history, editorial philosophy, influence, and accessibility, affirming its crucial role in nurturing poetic voices and enriching the broader literary ecosystem.  

1. Introduction: The Enduring Voice of Ibbetson Street

1.1 Establishment and Core Identity

Ibbetson Street Press is fundamentally recognized as a "journal and publisher of poetry" , established with the explicit mission to publish "the best of the small press". It operates as a dual entity, functioning both as a literary magazine, published twice annually, and a poetry book press. This dual approach provides multiple avenues for poets to share their work and for readers to engage with contemporary verse. The magazine's consistent output and clear focus on a particular poetic aesthetic have positioned it as a significant and stable entity within the often-ephemeral small press world, offering a reliable platform for poets and a consistent source of new work for poetry enthusiasts.  

1.2 Significance within the Small Press Landscape

The small press ecosystem is crucial for fostering diverse voices and experimental forms that larger, more commercially driven publishers might overlook. Ibbetson Street's longevity and specific editorial focus contribute significantly to the richness and accessibility of this landscape. The very existence and sustained operation of Ibbetson Street Press, as a dedicated "journal and publisher of poetry" , highlights its role as a vital counter-narrative to the increasing commercialization of literature. Its continued operation since 1998 demonstrates a resilience characteristic of successful independent publishing ventures. This resilience indicates a strong community backing, dedicated leadership, and a clear, appealing editorial vision that resonates with both poets and readers, thereby enriching the broader literary ecosystem by providing a consistent home for authentic poetic expression.  

2. Historical Context and Evolution

2.1 Founding Details and Key Figures

Ibbetson Street Press was founded in 1998 by Doug Holder, Richard Wilhelm, and Dianne Robitaille. This collaborative founding suggests a shared vision for a new literary venture rooted in the local poetry scene of Somerville, Massachusetts, where it was established on Ibbetson Street. Doug Holder has been a central figure since the inception, serving as the founder, publisher, and co-editor of the press. Richard Wilhelm also played a foundational role and continues to be involved as the Art Editor. Dianne Robitaille was an original editor, contributing to the initial direction and development of the magazine. Their combined efforts laid the groundwork for what would become a nationally recognized small press.  

2.2 Significant Milestones and Development

Since its founding, Ibbetson Street Press has demonstrated remarkable consistency and growth. The release of Issue 53 in August 2023 indicates a near-consistent bi-annual publication schedule over a quarter-century (1998-2023). This sustained publication record is a significant achievement in the often-volatile small press landscape. It suggests not only unwavering dedication from its founders and current editorial team but also a stable operational model, a consistent pool of quality submissions, and a loyal readership base. This continuity implies a successful navigation of the financial and logistical challenges common to independent literary ventures, allowing it to transition from a nascent project into an established institution within the literary community.  

Beyond its consistent output, Ibbetson Street has garnered early and ongoing recognition. It has received "favorable notice" in esteemed publications such as The Boston Globe, Salamander, Chiron Review, Rattle, Jewish Book World, Harvard Review, Small Press Review, and PRESA. A key development in its recent history is the partnership with Endicott College , a collaboration that further solidifies its institutional standing and expands its reach into academic circles.  

3. Editorial Philosophy and Poetic Landscape

3.1 Detailed Analysis of Editorial Focus

Ibbetson Street maintains a clearly defined editorial philosophy, explicitly seeking "poetry that is not too abstract". The submission guidelines emphasize a preference for "simplicity, economy-of-words, something that speaks to all of us". This focus suggests a commitment to verse that is accessible and relatable, aiming to connect with a broad audience rather than a niche academic or experimental readership. Furthermore, the poetry selected is expected to "have layers of meaning, and be strongly situated in the everyday". This indicates a desire for works that explore universal human experiences and emotions through grounded, tangible imagery and narrative clarity, allowing for both immediate comprehension and deeper contemplation. This distinct focus carves out a specific and important niche for Ibbetson Street within the diverse spectrum of literary journals.  

3.2 Thematic and Stylistic Characteristics of Published Works

The thematic and stylistic characteristics of works published by Ibbetson Street align directly with its stated editorial preferences. Reviews and descriptions of featured books and issues highlight themes deeply rooted in human experience. For instance, Jennifer Purcell's Beloved Imperfections of a Shattered Heart explores "the paradox of sadness and joy with questions that come from a place of raw vulnerability". Arden Norian's  

A Plea to Remain is described as a "rallying cry for the Self in all of its rage, honesty, compassion, and love," addressing both personal and political dimensions. Sydney Leclerc's  

Balancing Act delves into the simultaneous experience of "joy and anxiety," covering themes of family, grief, growing up, relationships, and change through "plain-speaking poems".  

The emphasis on "detailed descriptions" and "expressive poems" in these works directly corresponds to the magazine's call for poetry "strongly situated in the everyday". This suggests a preference for vivid imagery and narrative clarity that allows readers to connect deeply with the emotional core of the poems. The consistent editorial preference for poetry that is not overly abstract and is firmly rooted in everyday life represents a deliberate strategy to broaden poetry's appeal beyond academic or highly specialized circles. This focus on accessibility, combined with the expectation of "layers of meaning," indicates a commitment to poetry that is both relatable and intellectually stimulating, potentially serving as an important gateway for new readers into contemporary verse. This strategic choice to engage a wider readership by focusing on universal themes and clear expression likely contributes to its broad appeal and national distribution.  

4. Distinguished Contributors and Their Literary Impact

4.1 Profiles of Notable Poets

Ibbetson Street has established a reputation for publishing a remarkable array of poets, successfully balancing nationally acclaimed figures with significant regional talents. This diverse roster enhances the magazine's prestige and broadens its appeal.

Among its most distinguished contributors are:

• Ted Kooser: A former U.S. Poet Laureate, his inclusion in multiple issues, such as Issue 56, 53, and 52 , significantly elevates the magazine's standing and signals its high editorial standards.  

• Marge Piercy: A prominent and widely published poet, featured in issues including 56, 52, and 31 , further solidifying the magazine's reputation for attracting established voices.  

• Charles Coe: A poet whose work has appeared in Issue 56 and 31.  

• Danielle Legros Georges: Featured in Issue 56 and 52.  

• Robert K. Johnson: A retired Professor of English at Suffolk University, widely published and known for running the Newton Free Library poetry reading series.  

• Jack Powers: The founder of the Stone Soup Poets and a recipient of the Anne Bradstreet Lifetime Achievement Award. His presence highlights the magazine's connection to established community figures and its recognition of foundational voices in the small press movement.  

• Richard Cambridge: An award-winning poet, including the Master's Slam (1997 National Poetry Slam).  

• Linda Haviland Conte: A poet who studied with William Meredith and contributed to the Poetry at the Media Lab series at MIT.  

• Doug Holder: Beyond his role as founder and editor, Holder is himself a published poet whose work has appeared in various outlets.  

• Other notable contributors include Brendan Galvin, Miriam Levine, Michael Ansara, Richard Hoffman, Kathleen Aguero, Denise Provost, Jennifer Barber, Dorian Brooks, Lyn Lifshin, Sue Sullivan, Gloria Mindock, Zvi Sesling, Kevin Gallagher, Lo Galluccio, Irene Koronas, Molly Lynn Watt, Bert Stern, Linda Larson, Michael Todd Steffen, and Karen Klein.  

4.2 Caliber and Diversity of Contributing Poets

The magazine successfully balances publishing "local, regional and national poets" , creating a rich tapestry of voices. This blend allows established poets to lend their gravitas while providing a crucial platform for emerging or regionally significant talents. The consistent ability of Ibbetson Street to attract and publish poets of the caliber of Ted Kooser (a former US Poet Laureate) and Marge Piercy, alongside a robust roster of regional and emerging talents, demonstrates a sophisticated editorial network and a strong reputation within the poetry community. This dual focus on national luminaries and local voices is not merely a collection of names; it is a strategic editorial choice that enhances the magazine's credibility and expands its appeal, fostering a dynamic literary ecosystem where diverse poetic traditions can converge and flourish. For a small press, attracting high-profile contributors like a former US Poet Laureate is a significant achievement, signaling to other poets and readers that the journal maintains high standards and is a legitimate platform. Simultaneously, the commitment to "local, regional and national poets" demonstrates a dedication to community and a broader vision for poetry that isn't solely focused on celebrity. This balance creates a vibrant mix, allowing the magazine to be both critically respected and deeply rooted, fostering a sense of community while reaching a national audience.  

4.3 Selected Notable Contributors and Their Achievements/Affiliations

Poet Name	Notable Works/Contributions	Affiliations/Awards
Ted Kooser	Poetry featured in issues 56, 53, 52	Former U.S. Poet Laureate
Marge Piercy	Poetry featured in issues 56, 52, 31	Widely published, prominent contemporary poet
Jack Powers	Founder of Stone Soup Poets	Anne Bradstreet Lifetime Achievement Award
Richard Cambridge	Award-winning poetry, often exploring social issues	Master's Slam (1997 National Poetry Slam)
Robert K. Johnson	Widely published poetry books	Retired Professor of English at Suffolk University; runs Newton Free Library poetry reading series
Linda Haviland Conte	Poetry books, including Little Weed	Studied with William Meredith; helped produce Poetry at the Media Lab series at MIT
Doug Holder	Poetry in BostonPoet.com, Boston Globe, Spare Change; The Man in the Booth in the Midtown Tunnel	Founder, Publisher, Co-editor of Ibbetson Street Press; Arts/Editor for The Somerville News
Charles Coe	Poetry featured in issues 56, 31	Contributor to Ibbetson Street Magazine
Danielle Legros Georges	Poetry featured in issues 56, 52	Contributor to Ibbetson Street Magazine
Michael Todd Steffen	Poetry, including Three Rings; work on T.S. Eliot	Contributor to Ibbetson Street Magazine
Karen Klein	This Close (poetry collection)	Contributor to Ibbetson Street Magazine
Jennifer Purcell	Beloved Imperfections of a Shattered Heart	Contributor to Ibbetson Street Magazine
Arden Norian	A Plea to Remain	Contributor to Ibbetson Street Magazine
Sydney Leclerc	Balancing Act	Contributor to Ibbetson Street Magazine
Nina Rubinstein Alonso	Distractions En Route: A Dancer's Notebook and other stories; Riot Wake	Poet, ballet practitioner, editor of Constellations a Journal of Poetry and Fiction

5. Accolades, Recognition, and Critical Reception

5.1 Overview of Favorable Notices

Ibbetson Street Press has garnered significant critical attention, receiving "favorable notice" from a range of highly respected literary and general interest publications. These include:  

• The Boston Globe

• Salamander

• Chiron Review

• Rattle

• Jewish Book World

• Harvard Review

• Small Press Review

• PRESA

These mentions indicate widespread critical appreciation across different segments of the literary world, from mainstream newspapers to specialized poetry journals and academic reviews. Such broad recognition underscores the consistent quality of the poetry and books published by Ibbetson Street.

5.2 "Must Reads" Recognition and Academic Inclusion

Beyond critical reviews, Ibbetson Street has received formal accolades that highlight its literary merit and academic standing. Ibbetson books have been selected as "Must Reads" by the Massachusetts Book Award. This state-level recognition is a significant achievement, affirming the quality and cultural importance of its published works within the region.  

Furthermore, the magazine is listed in the Index of American Periodical Verse. This inclusion is more than a mere listing; it signifies the magazine's formal entry into the academic and scholarly record of American poetry. This legitimizes Ibbetson Street as a subject of study and a source for researchers, elevating its status beyond a regional or niche publication to one of national academic relevance. Being indexed in a major academic resource means its content is considered significant enough for scholarly research and archival purposes, enhancing its long-term influence and ensuring its place in literary history. This academic recognition complements its critical acclaim and popular media features, creating a multi-layered validation of its quality and importance.  

5.3 Media Features and Broader Reach

Ibbetson Street's influence extends beyond print and academic circles, reaching a broader public through various media features. Its poets have been showcased on numerous television and radio shows, including NPR, WGBH (Public Television), Tufts University Radio, MIT Radio, Newton Cable, Boston Cable, Cambridge Cable, and Somerville Community Access TV. The magazine has also gained visibility through features in prominent online poetry platforms like  

Poetry Daily and Verse Daily.  

The extensive media features demonstrate Ibbetson Street's successful strategy in transcending traditional literary circles to engage a broader public audience. This widespread media presence amplifies its reach and impact, not only promoting its poets but also contributing to a wider appreciation for contemporary poetry. This suggests an active and effective public relations effort, likely driven by founder Doug Holder's own extensive media involvement. Many small presses struggle for visibility beyond their immediate literary communities, but Ibbetson Street's consistent presence on diverse media platforms indicates a proactive approach to public engagement. This is not accidental; it points to a deliberate effort to leverage various channels to showcase the magazine's poets and mission. This broad media exposure is crucial for expanding readership, attracting submissions, and solidifying its reputation as a significant cultural contributor, far beyond just its print distribution.

6. Community Engagement and Partnerships

6.1 Partnership with Endicott College

Ibbetson Street is engaged in an active and significant partnership with Endicott College. This collaboration offers substantial benefits to both entities. Through this partnership, Endicott College students gain invaluable opportunities to "attend readings by four visiting authors each year, and have additional opportunities to write and publish poetry, prose, and reviews". This direct engagement with established poets and the practical experience in literary publishing enrich the academic curriculum for students. For Ibbetson Street, this institutional affiliation potentially secures resources, provides a pipeline for future talent (both contributors and editorial staff), and fosters a direct connection to academic literary studies. This symbiotic relationship strengthens the magazine's long-term sustainability and expands its educational impact, ensuring the perpetuation of literary skills and appreciation within a new generation.  

6.2 Role in the Boston Area Small Press and Poetry Scene

Doug Holder, the founder of Ibbetson Street Press, plays a pivotal role in fostering the broader Boston area small press and poetry scene. In addition to his responsibilities at Ibbetson Street, he serves as the arts/editor for The Somerville News and writes a dedicated column titled "Lyrical Somerville" that "showcases poets from the Boston area". His commitment extends further as he directs the Newton Free Library Poetry Series and hosts the Somerville Community Access TV Show: "Poet to Poet/Writer to Writer". The magazine's blog, "Boston Area Small Press and Poetry Scene," also serves as a forum for the local literary community.  

Doug Holder's extensive personal involvement across multiple local literary platforms creates a powerful, synergistic network that significantly amplifies Ibbetson Street's influence within the Boston area. This level of personal dedication transforms the magazine from a standalone publication into a central hub for regional poetic activity. This is not just a list of jobs; it is a strategic, interconnected web of activities that collectively promote Ibbetson Street, its poets, and the broader Boston area poetry scene. His multifaceted roles foster community, promote local talent, and ensure a continuous flow of engagement and content. His personal dedication and extensive network are direct drivers of the magazine's visibility, community integration, and ability to attract diverse talent, making him a critical, almost indispensable, component of the magazine's sustained success and deep community roots.

6.3 Key Community Engagements and Partnerships

Engagement/Partnership	Description	Significance/Impact
Endicott College Partnership	Provides students with opportunities to attend readings by visiting authors and to write/publish poetry, prose, and reviews.	Integrates Ibbetson Street into academic literary studies, offers real-world publishing experience to students, and strengthens the magazine's sustainability and educational reach.
"Lyrical Somerville" Column	A column in The Somerville Times newspaper written by Doug Holder that showcases poets from the Boston area.	Promotes local and regional poets, connects Ibbetson Street to the community through local media, and highlights the vibrancy of the Boston area poetry scene.
Newton Free Library Poetry Series	Directed by Doug Holder, providing a venue for poetry readings.	Fosters community engagement, offers a platform for poets to share their work, and supports local literary culture.
"Poet to Poet/Writer to Writer" TV Show	A Somerville Community Access TV show hosted by Doug Holder.	Expands the reach of poetry beyond traditional print, provides a visual and auditory platform for poets, and engages a broader public audience.
Boston Area Small Press and Poetry Scene Blog	An online forum managed by Ibbetson Street Press.	Serves as a digital hub for information, discussion, and promotion within the local small press and poetry community.

7. Submission Guidelines and Publication Logistics

7.1 Comprehensive Submission Details

Ibbetson Street Press maintains clear and specific guidelines for poetry submissions, designed to ensure alignment with its editorial vision and streamline the review process. The magazine explicitly seeks poetry that is "not too abstract," emphasizing "simplicity, economy-of-words," the presence of "layers of meaning," and being "strongly situated in the everyday". This guidance helps poets understand the aesthetic preferences of the journal.  

All submissions must be sent electronically to tapestryofvoices@yahoo.com. Each submission should include 3 to 5 poems along with a brief biographical statement about the poet. A critical formatting requirement is that poems must be placed directly in the body of the email, as attachments are not accepted. This seemingly minor detail reflects a practical approach to managing submissions, likely to streamline the review process and mitigate security risks associated with attachments. This operational efficiency is crucial for a small press run by a dedicated, but likely lean, team, enabling them to maintain a consistent publication schedule. The subject line of the email must clearly state "Poetry Submission". The editorial team responsible for reviewing submissions includes Harris Gardner as poetry editor, and Lawrence Kessenich and Emily Pineau as co-managing editors. Importantly, there is no cost to submit work to Ibbetson Street , making it accessible to all poets regardless of financial means.  

7.2 Publication Frequency and Subscription Options

Ibbetson Street Magazine is published twice a year, with issues typically released in November and June. This consistent bi-annual schedule has been maintained for decades, contributing to its reliability as a literary outlet.  

Regarding subscription pricing, there is a notable discrepancy in the provided information. One source indicates a price of "$12/issue, $22/2 issues" , while another states "$7/issue, $13/2 issues". Given that the higher pricing appears in a snippet referencing a more recent issue (Issue 56) , it is advisable for prospective subscribers to refer to the official Ibbetson Street Press website or contact the press directly for the most current and accurate pricing information.  

8. Availability and Access

8.1 Purchasing Current and Past Issues

Ibbetson Street Magazine and its poetry books are available through a variety of channels, catering to different purchasing preferences. Direct mail order is a primary method, with issues purchasable by sending orders to Ibbetson St. Press, 25 School Street, Somerville, MA 02143. Orders can also be placed by phone at (617) 628-2313.  

In addition to direct sales, Ibbetson Street has embraced online platforms. Specific issues, such as Issue 30 , Issue 38 , and Issue 47 , are available through Lulu.com, indicating a partnership for print-on-demand or direct online sales. This presence extends to major online retailers like eBay and Barnes & Noble , often facilitated through third-party sellers or direct listings from Lulu. Furthermore, the magazine and its books are carried at "a host of independent bookstores in the area" , emphasizing its local presence and commitment to supporting independent booksellers, which are vital to the literary community.  

8.2 Digital Availability and Archives

While print remains a core component of Ibbetson Street's distribution, there are indications of a growing digital presence. The official website mentions a "Contributor's archive of past issues" , suggesting an ongoing effort to digitize or make past content accessible online. However, the comprehensive scope of this archive is not fully detailed in the available information. While specific issues are available digitally via platforms like Lulu.com , a comprehensive, free-access digital archive for all past issues is not explicitly confirmed.  

The hybrid distribution model, combining traditional direct mail/phone orders with online platforms like Lulu, eBay, and Barnes & Noble, demonstrates Ibbetson Street's adaptability in reaching a wider audience while maintaining its independent ethos. The mention of a "Contributor's archive" suggests a nascent but crucial step towards digital preservation and broader accessibility. This acknowledges the evolving landscape of literary consumption while still valuing the tangible print format. This balanced approach is critical for a small press to thrive in the modern publishing environment, allowing it to cater to both traditional readers and those who prefer online purchasing, and ensuring its work remains discoverable and relevant over time.  

9. Conclusion: Ibbetson Street's Place in Contemporary Poetry

9.1 Synthesis of Unique Contributions and Enduring Legacy

Ibbetson Street Press has carved out a distinct and enduring niche in contemporary poetry by consistently championing accessible, emotionally resonant verse "strongly situated in the everyday". Its remarkable longevity since its founding in 1998 , coupled with national distribution and critical acclaim from a wide array of respected literary and mainstream publications , solidifies its position as a significant and respected small press. The magazine's ability to attract both Pulitzer-winning poets like Ted Kooser and a vibrant array of emerging regional voices speaks to its broad appeal and discerning editorial standards. Doug Holder's multifaceted leadership and extensive community engagement are central to the magazine's sustained success, transforming it from a standalone publication into a vibrant hub for literary activity in the Boston area and beyond. Through its consistent output, clear editorial vision, and deep community roots, Ibbetson Street Press has made an indelible mark on the landscape of contemporary poetry.  

9.2 Recommendations for Continued Support and Engagement

To further support Ibbetson Street's vital work and ensure its continued impact, readers and poets are encouraged to engage actively with the press. Direct subscriptions to the magazine are highly recommended , as are purchases of its books and issues through its official website or affiliated online platforms such as Lulu.com, eBay, and Barnes & Noble. Supporting independent bookstores that carry Ibbetson Street publications also plays a crucial role in sustaining the broader literary ecosystem.  

Aspiring poets interested in contributing to Ibbetson Street are advised to carefully review and adhere to the specific submission guidelines, particularly the emphasis on accessible, grounded poetry and the electronic submission format. Continued engagement with its community initiatives, such as the author readings facilitated by the Endicott College partnership and Doug Holder's various local literary programs, will further strengthen its impact and ensure its enduring legacy as a cornerstone of contemporary poetry. The long-term success and influence of small presses like Ibbetson Street are inherently tied to active community support and engagement. By emphasizing direct subscriptions and purchases, and participation in community events, the symbiotic relationship between the publisher and its audience is reinforced. This highlights that the "authenticity" Linda Porter speaks of, where "most of the authentic voices are to be found" , is sustained by collective action, transforming passive consumption into active participation in the literary ecosystem.