STEVE ALMOND WRITES: “This Won’t Take But a Minute”

STEVE ALMOND WRITES: “This Won’t Take But a Minute”
Interview with Doug Holder


I got this email recently from the noted author Steve Almond (My Life in Heavy Metal and The Evil B.B. Chow ,etc…) about a new project and subsequent event he is involved in. The event will be at the Harvard Bookstore in Harvard Square Dec, 2, 2009 at 7PM. Almond writes:

“The book I'm reading from -- "This Won't Take But a Minute, Honey," isn't out yet. In fact, it's going to be printed ON THE NIGHT OF THE READING. In fact, DURING THE READING ITSELF. On HBS's new "Expresso Book Machine." Which can print a book (from a PDF) in about four minutes. You'll even be able to choose the cover design and trim size you want. All books cost $10 flat. Seriously.

I'll also be discussing how I chose to publish the book in this way, and what it says about the changing nature of the publishing industry, as the means of production become more accessible. Here's the official link:”

http://www.harvard.com/events/press_release.php?id=2420

Of course I had to shoot Almond some questions for OFF THE SHELF:

Doug Holder: First off--could you tell me a little about your new book, its theme, etc... How does it differ from your past collections?

Steve Almond: The book is pretty, uh, unconventional. It's 30 short short stories (500 words or less) and 30 short essays on the psychology and practice of writing. And it's literally two books, with two covers, that are read from either side and meet in the middle. I've been writing short shorts for years, many of them old, failed poems, and I love the dense emotions of the form. But it's hard to get them taken seriously by publishers. The essays are really just versions of what I tell my students, about what it really feels like to try to write, what you're up against. I've taken all the mistakes I've made, basically, and gathered them up, in the hopes others won't take as long as I did to get better. I think of the book as a kind of lovechild of Rilke's Letters to a Young Poet and Strunk and White.


DH: It is self-published. Why would a noted author like you need to go this route? Would you have never considered this say five years ago?


SA: I've been thinking about this for years, actually. The publishing industry is doing its best to sell books, but the economic model doesn't make much sense. And what I really wanted was to create a book that felt like an artifact, rather than a commodity. Now that digital printing has come to the masses, there wasn't any excuse -- other than sloth or cowardice -- not to give this a try. So I am. I realize that my having published books before will be helpful, but my motive isn't to "move units" but to get a cool little book into the hands of folks who might dig it. Period.



DH: How has the literati responded to this? You probably will be reviewed in top shelf publications because of the body of your work. Does a less established writer have a shot?


SA: The book really isn't "out" officially. I only sell it at readings, or for use in classrooms. I'm not interested in piling up big sales numbers, or making a big splash. In fact, I kind of like that the book is not "available everywhere." I'm really tired of feeling, as an author, like I should be selling selling, selling all the time. It's the wrong attitude to have about art.


As for a less established writer, obviously it would be tougher for them. And there's still a lot of stigma around "self-publishing." But I think that's changing as the industry is changing. It's become more of a DIY, grassroots enterprise, rather than top down, which I dig.



DH: Could you give me the advantages and pitfalls of the self-published route?


SA: I'm not the right person to answer. This is really my first small step. But I can see, generally speaking, that you get total freedom to make the book you want -- but you also have to do everything yourself. There's no built-in printer or editor or publicity person, etc. So you have to figure out how to put this thing into the world. That takes time. But it's also exciting as hell.


DH: Do you think this will prove profitable?

SA: No idea. I mean, I make a little money on the books I sell. But I wanted to keep them at $10 flat, so it's not much money. Then again, that's not what it's about for me. It's about getting the work to the folks who are ready to feel it. If it makes money, in other words, it won't be because I had some business plan.


DH: Is this book Print-On-Demand?


SA: As I said, for now it's just available at readings, or for use in classes. If people wanted copies, I suppose they could get in touch. And I may, at some point, make it available on-line or in certain bookshops. But that's down the road. I'm really at the beginning of the process.


DH: Five years from now--or perhaps sooner--do you think this alternative way of publishing will enter the mainstream?


SA: They already are! I mean, Dave Eggers and Kelly Link -- two of our finest and most popular writers -- started their own presses! So it's not really "when" DIY publishing will enter the mainstream, but how quickly. That depends on how the big publishing companies adapt. But the big point for me is to get more people reading. That's the ultimate mission -- to get people to engage with their imaginations before it's too late for the species.

Treating A Sick Animal: Flash and Micro Fictions. Timothy Gager.

Treating A Sick Animal: Flash and Micro Fictions. Timothy Gager. (Cervena Barva Press PO BOX 44035 W. Somerville, Mass. 02144) $15. http://www.cervenabarvapress.com

The noted author Steve Almond once stated that Timothy Gager was one of his favorite local writers. I can see why. Gager shares Almond’s sense of irony, razor sharp wit, he deftly explores the ying and yang of relationships and this capricious thing we call “Love.”

This book titled, “Treating a Sick Animal: Flash and Micro Fictions” published by Somerville’s Cervena Barva Press, is a collection of flash fiction; very short pieces, where like poetry every word counts. Gager is an accomplished poet and this serves him well in this genre. In his piece “Why couples have pets,” a cat provides a mirror to a relationship that has lost its flame:

“Today she’s late for work. Late too, with other things. Damn cat can’t be found. It’s nine o’clock and she has decided to get rid of it. That decision upsets me, but mistakes happen—that time we made love under a blanket at Ocean City, plush towel in her mouth so the beach couldn’t hear.

Now she is late and she runs for the cat.”

And in his lead story “How to Care for a Sick Animal” Gager uses the conceit of a man treated like a dog (literally) by his girlfriend and a rather clueless veterinarian. Here, the girlfriend wishes the hapless man a fond farewell before he is put to sleep; their relationship relegated to its final resting place…or it was great fun, but hey, it was just one of those things, just one of those fabulous flings:

“After Dr. Jones left, Gracie approaches the table. “So how are you doing boy? I’m sorry that it has to end this way. There’s nothing I can do for you. Awwww…don’t look at me with those sad eyes. It’ll be ok. I just want you to know that I'm not going to go out and get a new dog anytime soon,ok? Oh, Todd you were my best friend and I loved you, but can’t you see I need to do this?” Helen entered the room with various snout sized Halothane masks and Gracie gave Todd a hug goodbye.”

Don't expect Gager to get sentimental on you--he is too much of a realist for that. But behind the dark Bukowski bombast there is still a glimmer-- that light of the hopeful romantic.

Highly Recommended.

Shmailo, King, Holder,Viscusi, Bozicevic to read Cornelia St. Cafe (NYC) Dec 20th.

Launch party for Larissa Shmailo's new collection of poetry: "In Paran"


6:00PM BOOK PARTY & READING The Cornelia Street Café 29 Cornelia Street, NYC 10014 212-989-9319



Hosted by Iris N. Schwartz Music by Brant Lyon



Elaine Equi ;Elaine Equi is the author of several books including Surface Tension and Decoy both from Coffee House Press. A new collection, Voice-Over, is forthcoming in February 1999. She lives in New York City where she teaches at The New School and CCNY.

Doug Holder: Doug Holder was born in New York City in 1955. A small press activist, he founded the Ibbetson Street Press in the winter of 1998 in Somerville, Mass. He has published over 60 books of poetry of local and national poets and 25 issues of the literary journal Ibbetson Street. Holder is the arts/editor for The Somerville News, a co-founder of "The Somerville News Writers Festival (founded in 2003)," and is the curator of the "Newton Free Library Poetry Series" in Newton, Mass. His recorderd interviews with contemporary poets are archived at the Harvard and the University of Buffalo libraries, as well as Poet's House in NYC. In Dec. of 2007 he was a guest of the Voices Israel Literary organization and lead workshops and gave readings in Jerusalem, Tel Aviv, and Haifa. Holder's own articles and poetry have appeared in several anthologies including: Inside the Outside: An Anthology of Avant-Garde American Poets (Presa Press) Greatest Hits: twelve years of Compost Magazine (Zephyr Press),FRESH GRASS: 32 INDEPENDENT POETS and America's Favorite Poems edited by Robert Pinsky. His work has also appeared in such magazines as: Rattle, Reconfigurations: A Journal for Poetics and Poetry, The Home Planet News, Hazmat, The Boston Globe Magazine, Caesura, Sahara, Raintown Review, Poesy, Small Press Review, Artword Quarterly, Manifold (U.K.), Long Island Quarterly, Microbe ( Belguim),The Café Review, the new renaissance, Quercus Review, Northeast Corridor, and many others. His two recent poetry collections are: "Of All The Meals I Had Before..." ( Cervena Barva Press- 2007 ) and "No One Dies at the Au Bon Pain" ( sunyoutside-2007). His collection "THE MAN IN THE BOOTH IN THE MIDTOWN TUNNEL" was released in the summer of 2008 by the Cervena Barva Press. It was a pick of the month in the Small Press Review (July/August 2008). In 2009 he released a collection of interviews: " From the Paris of New England: Interviews with Poets and Writers." It was selected for a New and Noteworthy Book on NEW PAGES. His poetry and prose has been translated into French and Spanish. He holds an M.A. in Literature from Harvard University.

Bob Viscusi ; Robert Viscusi, the author of "The Three Rules of IAWA," has published the novel Astoria (Guernica Editions, American Book Award 1996) and the performance poem An Oration upon the Most Recent Death of Christopher Columbus (VIA Folios). He has published numerous essays in books and journals on Italian American literature and culture, among them "Breaking the Silence: Strategic Imperatives for Italian American Culture," which appeared in the first number of VIA: Voices in Italian Americana and became a manifesto for IAWA. Viscusi has been a fellow of the National Endowment for the Humanities and of the John D. Calandra Italian American Institute. He is Claire and Leonard Tow Professor of English and executive officer of the Ethyle R. Wolfe Institute for the Humanities at Brooklyn College, as well as president of the Italian American Writers Association.

Amy King ;Amy King is the author of I’m the Man Who Loves You and Antidotes for an Alibi, and forthcoming, Slaves to Do These Things (Blazevox) and I Want to Make You Safe (Litmus Press). She teaches English and Creative Writing at SUNY Nassau Community College. For information on the reading series Amy co-curates in Brooklyn, NY, please visit The Stain of Poetry: A Reading Series (http://stainofpoetry.com) and http://amyking.org for more. Doug Holder ;


Ana Bozicevic Ana Božičević was born in Zagreb, Croatia in 1977. She emigrated to NYC in 1997. Stars of the Night Commute is her first book of poems. Her fifth chapbook, Depth Hoar, will be published by Cinematheque Press in 2010. With Amy King, Ana co-curates The Stain of Poetry reading series in Brooklyn, and is co-editing an anthology, The Urban Poetic, forthcoming from Factory School. She works at the Center for the Humanities of The Graduate Center, CUNY. For more, visit nightcommute.org.

Launch party for Larissa Shmailo's new collection of poetry, In Paran.
Cover $7 (includes one house drink)

IS POET KIM TRIEDMAN LOOKING FOR TROUBLE?

IS POET KIM TRIEDMAN LOOKING FOR TROUBLE?

BY DOUG HOLDER

Kim Triedman doesn't look like a poet who is looking for trouble. Triedman, a member of Somerville's Bagel Bards, doesn't seek trouble but does see trouble underneath the seemingly placid surface of things. Triedman has recently come to poetry after working in fiction for several years. In a short time she has racked up a number of impressive credits. She has been named the winner of the 2008 Main St. Rag Chapbook Competition, she was a finalist for the 2007 Philbrick Poetry Award, finalist for the 2008 Black River Chapbook Competition, and most recently, semifinalist for the 2008 Parthenon Prize for Fiction. Her poetry has appeared in Byline Magazine, The Aurorean, Poetry Salzburg Review, FRIGG Magazine and others. Her poems have been selected by John Ashbery for the Ashbery Resource Center's online catalogue and has also been included in the John Cage Trust archive at Bard College. She is a graduate of Brown University. I talked with Triedman on my Somerville Community Access TV show " Poet to Poet: Writer to Writer."

Doug Holder: You have accomplished a lot with your poetry and fiction in a short time.

Kim Triedman: Yes in a very short time. Poetry is relatively new. I started writing fiction 10 years ago. I had been working as a medical writer for a number of years. I hadn't done anything in creative writing before that. These stories started to fall together and I started losing more and more sleep. I wound up leaving my day job and doing this novel fulltime. It took me four or five years to get me through the first draft.

Doug Holder: You have a recent poem selected for the John Ashbery Resource Center's online catalogue. Your poems don't impress me as being as abstract as Ashbery's. Tell me why you think it was selected?

Kim Triedman: What can I say. It is not so much like Ashbery but inspired by his process. He talks a lot about a thing called "chance operation" It is heavily influenced by the randomness of events. It is a method that allows yoy to let it work your way into your poetry. For instance: I am a very visual person and I never know going into a poem what I am going to write. I wait until I see something that sparks a first line. Once I have my first line I am off and running.

Doug Holder: Your book "bathe in it or sleep" was published by the Main St. Press--a well-regarded small press. How has your experience been with the small presses?

Kim Triedman: My experience has been very limited. I submitted a chapbook manuscript to a competition. By virtue of winning I had a book published. M. Scott Douglass put it out. he wears many hats--but it came out nicely. I was very happy with it.

Doug Holder: This was your first submission to a contest and you won. You did not have to go through the travails of a long-suffering poet waiting to get his book published.

Kim Triedman: For whatever reason my poetry seems to be well-recieved by many people.

Doug Holder: Have you been a member of a workshop?

Kim: When I finished my novel I started dabbling in poetry. I came across a brochure for the Lesley University Seminar Courses. I took three classes with one instructor and there was a core of five or six women. After the class we continued to meet. We are still going strong. So much of your own editing depends on hearing yourself.

Doug Holder: In your poem "Think of it this way":


Think of it this way:

Between the past and the future
stands a house. It’s tidy
and white, nearly ready

to explode. The terror, you see, the
weight of such a thing:
neither here nor there, like words

withheld, or the hand
that meant to stroke.
Even in a strong wind leaves

can double-back, and
seagulls hang, frozen in sky.
We sit,

burning in silence:
eyes forward -
remembering nothing.

I get a sense of terror behind the banal--the well-ordered surface of things of a suburban house. Are you a poet that is looking for trouble?

Kim Triedman: I wouldn't put it that way. I am not looking for it, but I do see it. I think there is a bittersweet quality to what I write. I try to see the dark underside of things. This time of year ( Autumn) brings it out in spades. I'm very affected by the silence, and the sadness underneath the visceral light.


Doug Holder/Ibbetson Update/ Nov. 2009

Lois Ames: "Confidante to Sylvia Plath and Anne Sexton.”

Lois Ames: Confidante to Sylvia Plath and Anne Sexton.”

Interview by Doug Holder (2005)




Recently I was privileged to hear Lois Ames speak at the “Wilderness House Literary Retreat,” in Littleton, Mass. Lois Ames is a poet, biographer and psychotherapist. She was a confidante of the poet Anne Sexton, and has published many essays on both Sexton and Sylvia Plath including: “A Biographical Note,” in Plath’s “Bell Jar,” She also was the editor of “Anne Sexton: A Self-Portrait in Letters.’ I talked with her on my Somerville Community Access TV show “Poet to Poet: Writer to Writer.”


Doug Holder: Is it a natural fit for “confessional” poets like Sexton and Plath to have a trained social worker , and a literary historian, as a confidante?




Lois Ames: I don’t think it is usual. I don’t think that’s why I was their friend or confidante. I knew Sylvia from high school and Smith College. Anne I once met in high school, but I didn’t know her till much later. I was then a trained social worker, but I don’t think that’s why we became friends.


Anne certainly asked me to go to McLean Hospital when she first started teaching poetry there. She wanted someone trained to help her when she reviewed the patient poems. She didn’t want to hurt these fragile patients’ feelings. She wanted me to monitor what she said. She turned out to be superb.




Doug Holder: You wrote the biographical note for the “Bell Jar.” Did you ever want to do a complete biography of Plath and Sexton?




Lois Ames: I did. The book “Anne Sexton: Self-Portrait in Letters.” was my idea. It was done partly to get an understanding about what material was there. She had appointed me her official biographer. But it was also to help her children to understand aspects of their mother’s life they weren’t aware of. I thought if I was there for them we could go through the letters, and this would be very helpful.


I was the first one to be asked to do the biography of Sylvia Plath. I had a contract with the family. Harper and Row was my publisher. It became increasingly difficult for me to do this, as other biographers have found out. And I finally decided for the sake of my own sanity and my family; that
it was better to pay back the advance to Harper’s. I always felt it was a wise decision.


Doug Holder: Did Plath have any interest in teaching poetry at McLean Hospital, like Sexton?


Lois Ames: Oh, no, I don’t think so. Sylvia was a junior in college when she was at McLean. In those days she wasn’t trained to do anything like that.


She went to England after she graduated Smith. There was no reason for her to even think of doing that. That was not Sylvia’s interest. Anne loved teaching. Sylvia found teaching very difficult. She taught one year at Smith College and felt that it drained her. I assume going to England with Ted Hughes and leaving Smith, was a wonderful opportunity for her.


Doug Holder: Anne was not formally educated beyond high school. If say, she was educated in the Liberal Arts at Harvard, would she be a different poet?


Lois Ames: She was very interested in form when she first started and she studied it very diligently. When she was in Robert Lowell’s workshop she studied it as well. She read a great deal. She tried to make up for the great gaps in her education. Her teachers in public school gave up on her very early. They told her parents that she was hopeless. She was sent to the “Garland School,” a finishing school for girls at the time. She said she learned to make perfect white sauce there, but that was it. But she was writing poetry when she was there and it was published in a magazine the school put out.


Doug Holder: Have you had any clients since Sexton and Plath who have reached literary heights?




Lois Ames: I knew a lot of the people in the workshop Anne ran. I am sworn to confidentiality however. But a lot of people, who came out of the workshop, have been or are published poets. They do very well in the poetry world.


Doug Holder: Is your own poetry influence by either poet?


Lois Ames: Anne certainly taught me a lot about reading. She taught me to get as many critiques as possible. Have I ever tried to follow the style of either of them? No. And no one has ever accused me of that.


Doug Holder: Do you think if Plath didn’t have this dramatic background of suicide, Smith, and marriage to Ted Hughes, etc...and was a working-stiff from Waltham, would she be as celebrated as she is today?


Lois Ames: I am wondering where Plath will stand in a hundred years. Ted Hughes was very good at marketing Plath. He kept her reputation growing by the astute publication of her work. I think the fact that she and Ted Hughes had a passionate romance, were from a tumultuous family, and the fact that Sylvia killed herself, all lead to the mystique. It contributes to her present fame. Some of Plath’s poems were superb and she knew a lot about poetic form.


Doug Holder: Where will Sexton’s work stand in a hundred years?


Lois Ames: I think it will fare well. I think Sexton was more daring than Plath. The problem is that people don’t read Sexton today. I don’t think she is promoted. She hasn’t been marketed the way Plath is today.


Doug Holder: The poet Ted Hughes, Plath’s husband, has been much maligned.Both Plath and his other wife committed suicide. It has been said he drove Plath to suicide through his infidelity, etc... What’s your take?

Lois Ames: Ted had a lover during their marriage that he later had a child with. This was the source of Sylvia’s rage. Later she killed herself the same way Sylvia did. I felt extreme sympathy for Ted. There is nothing more rage full to do to other people than to kill yourself. I don’t think other people are responsible for other people’s suicides. With the medications we have now maybe Sylvia and Ann could have been saved.


Doug Holder: Did the limitations on women coming of age in the 50’s play a role in these untimely deaths?


Lois Ames: Each of us was a warrior trying to find herself. Every achievement was huge. To get out from under the dish washing, the daycare, and to create anything took enormous courage, and strength. I am sure it took its toll.


Doug Holder: Did Sexton and Plath’s mental illness contribute positively to their poetry?


Lois Ames: Each wrote in spite of their illness. It took enormous courage to do this.

Somerville's Wendy Blom Gives Us Food for Thought

Somerville's Wendy Blom Gives Us Food for Thought

I have worked with Wendy Blom for a number of years at Somerville Community Access TV where I produce my show “ Poet to Poet: Writer to Writer." Blom, the director of SCAT, is so busy coordinating other projects that I was surprised and glad that she decided to produce one of her own. Blom’s project is the much lauded film documentary "Eating Local in Somerville," airing on Somerville Community Access TV through the month of November. The film concerns the local food movement in Somerville. I guess you can consider Blom a film producer of fresh produce! Anyway I shot her a few questions for Off the Shelf:






Doug Holder: What is the local food movement?

Wendy Blom: The local food movement is a reaction to large scale industrial agriculture that dominates food production in the United States. People want to know where their food comes from, and that it is chemical-free. Local food tends to be much fresher and tastier as well. People also want to support local farms because they preserve open space, offer more diverse varieties of produce, and use less fuel for transport, making the process more environmentally green. Besides buying produce from local farms, the local food movement includes backyard gardens, community gardens, New England cheese companies, and local organically grown meats.



DH: You wrote that Somerville is in the forefront. How does this play out? What restaurants, etc... are part of the movement?


WB: It is in the forefront because the Somerville school system has managed to adapt the government-mandated school cafeteria bidding process to allow local farms to compete. This results are in the students having a lot more fresh fruits and vegetables in their meals and snacks than other communities. In addition, each elementary school has an educational garden for after school activities that lead to an appreciation for vegetables and hands-on biology lessons. There are numerous restaurants in Somerville that advertise their local ingredients, finding that local produce draws patrons. Examples are the Teele Square Cafe, Bloc 11, and Sherman's Cafe.

Somerville has a very active group of food activists. Groundwork Somerville gets numerous grants to support local agriculture projects in the schools and in the community. The Community Growing Center is a leader in garden education, working with the Somerville Arts Council and Groundwork Somerville to expose Somerville students to gardening. Adding to the possibilities for eating local are the 150 community garden plots in Somerville, (despite the City's lack of green space), Somerville's two busy farmers markets, and hundreds of community supported agriculture (CSA) participants.


DH: What are the challenges you faced in producing this documentary?

WB: This documentary came together very easily. The amount of material I found exceeded my expectations. I met so many wonderful people who are excited about being part of the local food movement.

DH: Do you have ambitions for the documentary beyond SCAT?

WB: I hope that the information presented in the documentary will be used by other communities for expanding their own options for local food. For example, in my town of Needham, there is a group of people who are trying to convince the school committee to allocate land for a community farm. They are using my film to show people the benefits and possibilities of farm education. Here in Somerville, I hope the film will encourage people to think about the food they buy, and possibly purchase more local foods.

DH: Has Scat had a history of documenting with film other innovative aspects of our community? Some examples?

WB: SCAT has always been involved in spreading the word about community projects and issues. Often that means videotaping community meetings about the Green Line expansion, zoning issues, immigrant issues, and other topics that are important to Somerville. We produce programs about health (Bill Barrell recently produced an excellent hour-long show about H1N1, and our intern is currently creating a documentary about bed bugs), the arts, culture, etc.

DH: Do you consider yourself a gourmet or gourmand.... where do you eat in Somerville?

WB: I do not consider myself a gourmet, but I have gotten very excited about the freshness and variety of local produce. I live near a farm stand and during the season buy all my produce there. What inspired me was Barbara Kingsolver's book "Animal, Vegetable, Miracle." I think there are so many benefits to having a strong farm presence in Massachusetts.


People can see the film, "Eating Local in Somerville" on SCAT throughout November and on the Web

dialect of a skirt by erica miriam fabri

dialect of a skirt
erica miriam fabri
Hanging Loose Press
Brooklyn, New York
ISBN: 978-1-934909-10-2
2009 $18.00




bravo bravo

immediately, the cover of this first book, by erica fabri, made me jealous. the energy portrayed, the vibrant color, the direct approach, the ice-cream sundae image, all lent to my initial shock, “how dare she smack us with her boldness, her youth.”
ahh jealousy is a roaring beast. I read of few of the poems and now I’m really pissed, “she even writes with knowledge of her subjects, writes in the vernacular of her day. after I calm down, smile, rejoice in her time, in her expressions, the book is exciting:

“it was an early round.
The judge presented it to her: Fish
The pride knife stabbed at her:
SPELL IT, NORMA”

fabri gropes our language, she creates spells from idols, icons, from her own definitions of what it means to be forever young. she creates spells I am bound up in, unrolled, left ‘breathless‘:

“She knew she knew this one.
as she dug her two beautiful
bucked teeth
into her beautiful
bottom lip
and started
to say: eff-
two droplets
of nearly black blood
ran down her clefted chin.”

the goddess slips off her pedestal. I grab a chair to steady myself. can this be an indication of how we measure ourselves, the spelling of ‘fish’. even before her breasts are visible, this speller is ashamed of her not being able to measure-up. oh wonderous poet, how you have given us our icon-made real.

“Just then: Agatha.

Agatha, breastless, wanted to win,
Agatha said: Blood isn’t allowed
in a Spelling Bee.
Sit down, Norma Jean”

the challenge: we can compete: we can win: especially, if we take charge, charge in, take over, embarrass, make that blood count, blood power gives birth but some of us don’t want it, so we run until we stop bleeding:

"Agatha pressed
the bridge of her glasses
into her forehead,
hard, like bone.”

ahh, I’m exhausted by this one poem and release myself from the others until my energy returns…. “the animal of Love” is another goodie. we garnish the results of being peg holed spellers, or spelling an inaccurate verb, but we also recognize May Saton’s poem, ‘wild geese,’ “let the soft animal of your body love what it loves.” Sarton seems more subtle in her recognitions of how we please each other. fabri uses the symbols handed down unrecognizably, for what is represented is not the truth. the truth is, no one needs to live without this book of poems?

“I will swim belly to belly
with you forever, and if you die first,
I will beach myself, because it would be
too lonely to live without your silver flesh”

the titles of the poems are an indicator of the content of the poem. these titles are wonderful. I leave you a sampling:

‘Sappho on the lower east side’
‘Mannequins at lunch’
‘The poet and the truck driver’
‘Love in an ice cream truck’

BELLDAY POETRY PRIZE

BELLDAY POETRY PRIZE $2,000 PRIZE TO WINNING POET SUBMISSION DEADLINE: MARCH 15, 2010 CONTEST FINAL JUDGE: LUCIA PERILLO


Lucia Perillo has published five books of poetry, including Dangerous Life (1989), The Body Mutinies (1996), The Oldest Map with the Name America (1999), Luck is Luck (2005) and Inseminating the Elephant (2009). She has also published one book of essays, I?ve Heard the Vultures Singing (2005). She has taught at four universities and was awarded a MacArthur Foundation fellowship.


Bellday Books will publish the winning bookand award $2,000 and 25 copies of the book to the winning author.

CONTEST RULES? Submit a manuscript of 60-90 pages of original poetry in any style in English. The manuscript must not have been published in book or chapbook, but may contain poems that have appeared in print or on the Internet. Entries may consist of individual poems, a book-length poem or any combination of long or short poems.

Submitted manuscript must contain 2 title pages: Name and contact information should appear on first title page only. Name should not appear anywhere else in the manuscript. Include a table of contents page, but do not send an acknowledgements page. Manuscript must be typed single-spaced, paginated and bound with a spring clip. Enclose an SASE for announcement of the winner. Manuscript cannot be returned.

Postmark deadline: March 15, 2010. Include a check or money order for $25 reading fee, payable to BELLDAY BOOKS. Bellday Books reserves the right not to select an award winner, in which case all reading fees will be refunded. CONTEST MAILING ADDRESSBellday Books, Inc.P.O. Box 3687 Pittsburgh, PA 15230 Questions may be directed to :office@belldaybooks.com

LEN SOLO: A Poet and Painter who has seen the light.

LEN SOLO: A Poet and Painter who has seen the light.

The play of light figures in the work of Len Solo. Whether it is his paintings, or his detailed poetry, light transforms and illuminates the object of his creative desire.


Len Solo has been an educator for most of his professional work life: a public high school teacher of English, Math and Social Studies; founder of a small, private alternative school in Atlantic City; founder and department chairperson of the Teacher Development Program, Stockton State College, Pomona, NJ; principal for 27 years of the famous Graham & Parks Alternative Public School, Cambridge + Interim Principal, Cambridge Rindge and Latin High Schools for 1.5 years. For the past seven years he has been an education consultant. He has had 3 volumes of poetry published: Landscape of the Misty Eye, with Steve Weitzman (2004); Rooted in Place (2006) and The Magic of Light (2008).


Doug Holder: Len you have been an educator all your life. What do you think of the reading and writing of poetry as an educational tool?

Len Solo: Writing is what you aim for in teaching. If a kid can write, then you know that the kid can think, summarize, and plan ahead. If you can get one’s thoughts down that is the goal. It’s a goal beyond reading. It’s writing so others can read it. I taught poetry in high school and middle school. When I was a principal in Cambridge I had a math teacher; probably one of the best math teachers around. We had a lot of visitors ask him what they should read to be better math teachers. He said: “Read a novel.” That’s how I think about writing and poetry. It is a distillation of words and ideas.
A friend of mine told me my poetry is like prose, and in a way it is, but it is more than that. It is more heightened. I when I teach writing to kids I often start with poetry.

DH: So poetry can be taught?

LS: Yes. It can be in part. I can’t give you thoughts and ideas as a teacher. I can help you with the technical pieces of the writing. I can teach you about rhythm and rhyme—etc… It is the same argument about teachers. Are teachers artists, or can they be taught to teach? I think part of teaching can be taught.

DH: You have influences as diverse as Allen Ginsberg and Ernest Hemingway. What links these two for you?

LS: It is what I can take away from them. The things I can take away from Ginsberg is his style. He uses some techniques that I can relate to. Like E.E. Cummings’ minimalist usage of words—his placement of words on the page. So I take things from many.

DH: You have a scene of the North End of Boston on your collection “Magic of Light” that you painted. What was the attraction to the scene? Is your poetry and painting linked?

LS: I’m not Italian, but I like going to the North End. This particular scene grabbed me. The way I learn about things is primarily visual. So when I write I have a lot of visual images. That’s what I think I am really good at. It is part of almost every poem that I have written—strong visual images. I can see the act of creating a painting like the act of creating a poem. I try to catch a scene and grab and hold it. I do this with poetry and painting. The use of color is similar to the use of words and phrases.

DH: In your poem “Arranging Flowers”—it is almost an orgasmic experience—with a passion flower at the peak of an arrangement in a vase. Do you think we are driven as much by our own carnal desires as our creative?

LS: The ecstasy here is the merging of flowers, as in the merging of two people. The imagery really inspired me. When we get something down right, like a poem, it can be very close to an orgasm.

DH: In your new collection the “Magic of Light”—light plays an important role. Light has the power to transform, enliven, etc… What role does light play in your poems and paintings?

LS: When I started to put this book together I wanted to find the architecture for it or the unifying theme. I though how every one of these poems goes with light one way or the other. The power of light, its play. This is the way I deal with reality and my art, through my sight—you have sight because of light.



KARNER BLUE

*Lyceaeides Melissa Samuels

He was walking

through a field

wild with scrub oak

and black chokeberry,

the mild sky clear

all the way up,

when he saw a cloud

of tiny butterflies

come fluttering down

out of that sky

like blue snowflakes

on a windless day.



He followed one

zigzagging slowly

through the weeds,

its wings flashing

silver blue,

orange crescents below,

and watched it settle

on a purple-blue lupine,

art and nature fused,

a Nabokovan delight

in the summer sunlight

Camelot Kid's Triggertopia by David S. Pointer

Camelot Kid's Triggertopia
By David S. Pointer
Propaganda Press
alt-current.com
alt.current@gmail.com
Price: $5


A review by Mignon Ariel King

The cover sketch of the collection announces that this is not pretty poetry: an automatic rifle and guitar hybrid. Inside is rough, political work with titles such as "A Slice of the Modern Sex Trade" accompanied by disturbing sepia-toned sketches. Sharp humor appears, as in the "Major CEO: Basic Job Description":

must be expert
at creating the image of
false job creation while
using the money to move
overseas...(Lines 17-21).

No institution or organization goes untouched by Pointer's pen. The poet links the all-too-excruciatingly-obvious link between modern medicine and money. What distinguishes this political writing from much of the "rant" work being done lately, however, is its knowledge of the past that is sentimental without being sappy in its nostalgia. The tone is: Remember the good ol' days? --not that they were perfect, just better than the polar opposite we're stuck with today, including an over-medicated society. Really, is the "time-sturdy statement" (L3) of "The Patient First" too idealistic a goal for modern medical professionals?

Sprinkled throughout the collection of full-length poems are haiku, again, more entertaining than most I've seen in recent years. Here's one that amuses and produces a "Yikes!" from the reader at once: "casino daycare/plastic coins/for the kids." Halfway through the collection the reader discovers (via a spoken-word-worthy prose poem) that "Camelot Kid" grew up in a federal housing project named "Camelot". There, "where there were no/round tables, or lingering middle class/fables..." (L13-15).

In another class statement, the narrator's advice for "Removing Rot in Excessive Riches" is for the rich who are "laughing on their caribou calfskin couches" (L3) to "make wage suppression go down/smooth as white chocolate cheesecake" (L4-5). More anti-economic inequity lines offer this brilliant metaphor:

and nobody clears
poverty's airway
just the pockets
of the global poor (L9-12, "Wall Street Washington")

The poet's criticism of institutionalized social injustice and corruption is not softened, rather humanized, by autobiographical family-oriented words and old photographs. The reader is drawn in as opposed to feeling yelled at. Pointer's indignation feels righteous.



Mignon Ariel King is a former English instructor, a voracious reader and writer of poetry, and an online journal editor.

The Loulaki Bar and other poems from Hydra Henry Denander

The Loulaki Bar
and other poems from Hydra
Henry Denander
Miskwabik Press
Calumet Michigan USA
2009

The poems in this illustrated book of poems are an intimate
look at intimate ways people live within a small community
and each poem becomes part of the whole story.

“The water was leaking in the kitchen and
I’d called the plumber. He was out fishing
but his son would come by and help me.

A young guy turned up, only 15 but already
taller than his father. Dressed as a real plumber
with all the necessary tools, he fixed the problem.

When I asked about the bill he said I could pay
whatever I wanted - which of course is tricky.
He should be paid handsomely for taking an hour
to come to me this Sunday afternoon….”

Henry Denander and his family bought a home on the island
of Hydra in Greece, “a peaceful little island. Nothing much
happens. A perfect place for a summer house,” but much
does happen and Denander writes and paints some of the
happenings, some of the village life that carries us into the
poems; we float, bob with the ebbing tide along the shore
of this blue and aqua poetry.

This book is worth the read because we are all invited to swim
and to partake of the Greek life, just the way the poet has
and the poems invite us. This book will give you:

“the mandarin tree that seemed dead
suddenly has small green shoots.”

Irene Koronas
Poetry editor
Wilderness House Literary Review
Ibbetson Street Press
reviewer

You Know About The Somerville News Writers Festival, Nov. 14, 2009 at 7PM. But how about the Book Fair?

You Know About The Somerville News Writers Festival, Nov. 14, 2009 at 7PM. But how about the Book Fair?

Timothy Gager, like me, realizes the need to mix art and commerce. Gager is allergic to the dust that collects on unappreciated books on shelves in many bookstores. Since he appreciates good craft and good sales he told me that he would love to have a book festival to be held before the main event on Nov. 14,: The Somerville News Writers Festival ( 7PM at the Arts Amory Center--191 Highland Ave.)

If you know Gager like I do he goes after things like a fly on… well you know what. So before the readings that takes place at 7P.M. we will have a book festival at the Armory Arts Center as well. The Fair will feature both publisher and author tables. There also will be author readings by folks like Margot Livesey, Brian McQuarrie, Lise Haines and others.

We are going to have a number of fine presses as well. Gloria Mindock’s much touted Somerville-based Cervena Barva Press, as well as Gary Metras’ Adastra Press, which is known world-wide for their fine-crafted books of poetry will be there. The Boston Review, a well-respected literary and political review, based in Somerville, will be on hand, as well Leah Angstman’s Propaganda Press. Angstman is a young, prolific publisher of beautifully crafted mini-chapbooks of poetry. And we shan’t forget Tam Lin Neville (a featured reader) and Bert Stern’s Off the Grid Press, a Somerville-based publisher of fine poets over the age of sixty. And of course the much lauded school for writers Grub St. will be there to answer question about course offerings and events they have year round. I can’t forget my own press Somerville’s Ibbetson Street Press, and an out-of-towner the Black Lawrence Press of New York City.

At the author tables will be Paul Steven Stone, the author of “Or So It Seems,” Luke Salisbury, well-known baseball writer, novelist and author of the award-winning novel: “Hollywood and Sunset,” Boston University astronomy professor Daniel Hudon and author of “The Bluffer’s Guide to the Cosmos” as well as Paul DeFazio author of “Pros and Cons,”, and others will make the scene.

So drop by at 11AM on Nov. 14, browse, schmooze, go out to dinner, return for the readings at 7PM, make it a literary day and night!

For more info: go to http://somervillenewswritersfestival.com

For the Sake of the Light: New and Selected Poems. Tom Sexton

For the Sake of the Light: New and Selected Poems. Tom Sexton. (University of Alaska Press PO BOX 756240) $23.

I reviewed a previous collection from Tom Sexton (Clock With No Hands), a poetry collection that dealt with his childhood in Lowell, Mass. Well Sexton is not only a topnotch urban poet, but he is an accomplished nature poet as well. And if you look at a dramatic sky, and see it as only that, well fine. But Sexton is a poet who transcends, and sees in nature a portal to another world or dimension. And since many of these poems take place in the hinterlands of Maine and Alaska, how better to view the grandeur? In “That Other World” we have case in point:

Out of the heavy cloud cover, a shaft
of light falling on the only leaf
of a devil’s club plant that has turned

bright yellow a month before it should.
Could this, and not the arching sky,
be the portal to that other world,

the place where the gods, disheveled
and slightly sulfurous, enter ours
trailing bright red berries for a cape?

And in “Burial Ground” Sexton shed light on a cemetery, and its spectral denizens:

Past the man who was kind to his wife and children,
past the woman of biblical age,
past the Grand Army of the Republic markers,
past the child who knew only one winter,
past the peddler who sold needles and thread,
someone has knelt in the snow to fasten
a Christmas wreath, with a spray of holly
and a red velvet bow, to a defaced slate—
now a door for the dead to pass through
if only to see earth wearing the moon for a crown.

Sexton’s poetry will make you a much closer look at that tree, that sunset, that flick of movement in the corner of your eye, that deep orange in an autumnal leave….Highly recommended.

Two Reviews: The Inman Review/ Bankrupting Joe the Taxpayer

Review of The INMAN REVIEW, Volume 1, Fall 2009, $4, Jahn Sood and Zachary Aiden Evans, editors, Cambridge Street Press, inmanreview@gmail.com



By Barbara Bialick



A new literary magazine in the hip nation of Cambridge has risen up to serve and explain the sensibility and heart of Inman Square. Published by Cambridge Street Press, it’s dedicated to bringing us short stories, poetry, arts and culture, perspectives, drawings and photography of the diverse people of Inman Square and environs. The interesting display ads from different businesses in the neighborhood further tether the review to the spirit of its neighborhood. Indeed, editor Jahn Sood, inspired by the works of Orwell, is also a barista at the 1369 Coffee House.



The new review is even blessed by former U.S. Poet Laureate Robert Pinsky, who writes, “This bouncy prose and poetry, these drawings and photographics are lively and soulful enough to be worthy of the name and the neighborhood…”



One is immediately introduced to its clever artwork, with a huge red and blue drawing of a human heart, where the streets of Inman Square are identified to be in the thick of veins and arteries, as drawn by Alethea Jones.



Here are some lines by some of the writers: “The human heart is a bare room…And there is also a window…” (Poem “Hot Power” by Ezra Furman)



“Man, amazing things always happen in books…Nothing interesting ever happens to me…” He then strings up white cats to balloons which are flying high in the sky.

(Cartoon “Love From Above” by Michael Pollock)



“Lather up with Cotton Mather…” (Poem “New England is an Acknowledgement” by Michael Sean Crawford)



“Boston loves close cropped/haircuts and baseball hats/just as poetry hates it…”

(Poem “Commemorative” by Patrick Duggan)



“Cigarettes. The awning looked like a haunted house, with all the smoke trapped under it. A guy named Bruce asked me if I was in a band…’ (Fiction “Peace” by Infamy Mills)

**********************************************************************************



Bankrupting Joe the Taxpayer by D.J. Golio (AuthorHouse)



Reviewed by Manson Solomon







What immediately springs to mind on first encountering this book is that old saw, you know, the one about never judging a book by its cover. But in this case, it is almost impossible not to. Indeed, it is clear that in this case we are actually expected to, that the cover is in fact specifically designed to hit us squarely between the eyes. The very title, Bankrupting Joe the Taxpayer, emblazoned across the top in bold red, is a call to judgment. Also on the aforementioned cover, below the title, there appear two stiffly posed cleancut college-age kids with their clean pockets turned inside out (see how empty they are) and blissfully untroubled countenances, whom we are implausibly supposed to take for embattled taxpayers.



Unfortunately, the judgment that this cover elicits is not the one the author intended. Rather than being moved to righteous indignation, we find ourselves compelled to ask instead just what is this book before us which would seek to draft off that signal halfwit responsible for such a coarsening of the 2008 campaign discourse? The plumber who wasn’t a plumber, who was in fact not even a Joe but a Samuel, and who turned out to be not an upstanding citizen but an unemployed and unemployable lumpish know-nothing tax delinquent.



The point of writing this book, the author tells us, is that “many people see an article on taxes and simply get turned off.” They want something comprehensible and engaging. You betcha! But somehow, page after page of ranting, for example, against the AMT (Alternative Minimum Tax, in case you wanted to know) is not exactly a page-turner for Jack and Jill the Readers. Sad to say, the contents do in fact do justice to the cover – the interior is as disingenuous as the exterior and evokes the same reverse response.



As one shovels one’s way through these turgid pages, one cannot help speculating that perhaps the kids posing on the cover might be a couple of the author’s students. For this book turns out to be, as far as I can tell, an attempt to turn the CPA author’s lecture materials for his course on taxation into a popular cash-register impulse buy. A not unreasonable aspiration which, unfortunately, it is not easy to pull off.



The author tries hard to instill popular relevance into the material by starting his pitch with photocopies of his phone bill. Not a bad idea. Everyone gets a phone bill, right? (Except perhaps the kids on the cover, whose parents presumably pick up the tab.) And everyone feels overcharged, right? So you poor aggrieved billpayers know very well what I am talking about, right? And ditto for the other utility bills reproduced in subsequent pages. However, that we get the author’s point doesn’t necessarily make for entertaining reading. To have a hope of grabbing us, the writing itself has to be entertaining, and entertaining writing is not what CPAs are generally known for. So -- here comes another old saw -- let the cobbler stick to his last. Just as it is probably not a good idea for a poet to prepare his or her own taxes, so it is probably inadvisable for tax accountants to attempt literature unaided. Like athletes and politicians, non-writers who turn to producing books should at least have the benefit of a professional ghost writer to craft and enhance the product.



So, as you may surmise, I did not find myself being entertained as I plowed the furrows of this opus, slogging through the turgid undergrowth of blaring fonts, bolds, italics, capitals, burdensome tables, fighting off stealth attacks by phalanxes of numbers after numbers after numbers, not to mention linguistic brambles. Nor is the author’s case helped by his use of hyperbolic language, such as “The Depression and two world wars made sure that the new taxes would become a permanent burden for all legitimate United States citizens forevermore” or ”Most people in the United States are too busy fighting the economic terrorism war . . . “ No need to parse – the emotive loading is obvious.



But, having waded through it, did I emerge at least informed? Well, not really. Too many times the righteous indignation I was invited to feel simply dissipated when pressed up against the facts (much like Samuel Wurzelbacher’s expostulations.) Sure, the phone and gas companies bamboozle us with impenetrable lists of itemized costs, so as victims ourselves we can feel the author’s pain, we can empathize, but the trouble is attributing the overcharging to taxation per se rather than your customary corporate gouging is something of a stretch.



And who is this poor oppressed Joe the Taxpayer, anyway? The author defines him (in typically loaded language) as “Every U.S. taxpaying legal citizen”. He also tells us that 55% of all households earn under $50k and pay no taxes – so evidently they are not Joe the Taxpayer. Those earning from $50k - $100k are another 29% of households and pay 15% of the total taxes collected, so they are not really bearing the burden either. The top 16% of earners pay 80% of the taxes and the top 2.8% of households pay 50% of taxes. In the same indignant breath that we are told that the poor taxpayer is being robbed blind, we are also told that the top 2% of earners pay 98% of the nation’s taxes while the bottom 55% get away Scot free. Following this logic, apparently the vast bulk of the population has nothing to complain about. So who is the author pitching for, and for whom are we invited to be so righteously indignant? Could it be that Joe the Taxpayer really Joseph the Wall Street exec.? Whoever he (she?) is, it is certainly not the average Joe that the title (or the cover) would imply.



The author wants us to get indignant not only about taxes in general but about those being collected for specific purposes, e.g. to fund highway projects, to clean up leaking underground storage tanks, to compensate miners for black lung disability, to pay for the disproportionate road wear caused by heavy trucks and trailers, gas guzzler tax, etc. Would he prefer that these services be eliminated? He rails against a gasoline tax without considering how it could make alternative energy more competitive and free us from dependence on foreign oil. (See Friedman, Thomas – not Milton.) He informs us that aggrieved taxpayers are revolting, saying, for example, “In Massachusetts, there was a ballot measure in 2008 to abolish the state’s income tax. If this ballot was successful on Election Day , it could have wiped out $12 billion of revenue, which would have paralyzed the entire state, since it has a total budget of $28 billion per year.” Grammatical inelegance aside, this would have been a good thing? (And, by the way, the supposedly revolutionary electorate voted it down.)



This review is not really the place for a detailed refutation of the author’s “arguments.” Suffice it to say that they are simply too simple by half. For this author, and too many others like him, taxes bad, government bad, free market good, Q.E.D. And now that he has told us what the problem is, what is his solution? Why, just cut taxes and slash government and drill baby drill, spice with a little xenophobia, and voila, prosperity for all! Problem is, we’ve been there, done that, it’s old, it doesn’t work (ask Alan Greenspan), and it’s at best naïve and more likely plain disingenuous.



We all know what some won’t admit: without taxation there would be no roads, no police, no firefighters, no education, no safe food and drugs, no army, no safe cars, air travel, scientific research, National Science Foundation, National Institutes of Health, Centers for Disease Control, public vaccination programs, NASA, rockets to the moon or Mars, social security, Medicare, Medicaid, Children’s Health Program, V.A., National Parks, FEMA, and on and on and on. The fact that there is waste and fraud in government, just as in corporations, and that we all feel overcharged makes for cheap and easy indignation without seriously addressing anything. Bottom line: what we have here is a simplistic diatribe, an indignant rant against all and any taxes as if they were the primary source of all evil, against welfare, against the “illegal immigrant invasion”, unions, food stamps, aid to schools, health care reform, the stimulus package, alternative energy, etc. etc. Essentially it is misdirected right-wing tea-bagger hysteria masquerading as analysis. Not useful. Of course we would all rather pay less for everything – not only taxes -- but not at the cost of downgraded services. To take liberties with another old epigram: half an equation is not better than none.



Thanks Joe, but no thanks.





(Full disclosure: the reviewer, before he experienced bhoddisattva and became a writer, feels justified in offering more than a literary opinion, since in unguarded moments he has been known to confess to being the bearer of an M.Sc. (Econ) from the London School of Economics.)

Poet Valerie Lawson: A New Home "Off the Coast"

Poet Valerie Lawson: A New Home "Off the Coast"

Interview by Doug Holder

Valerie Lawson, has the healthy ruddy complexion of a woman who spends a good bit of her time outdoors. This makes sense since she recently moved to the hinterlands of Maine and is editing a magazine "Off the Coast." She has been a mainstay in the Boston poetry scene for years, most notably in the poetry slam scene popularized by her partner Michael Brown. Both Lawson and Brown have taken over "Off the Coast," a well-respected New England journal from the founder, and have made their own unique imprint on it. Lawson was the slam master of the Bridgewater Poetry Slam at the Daily Grind Coffeehouse, has traveled to Europe to perform poetry and help host the Swedish Slam Nationals in 2002. Lawson was a participant in Optimal Avenues, a mixed-media cultural exchange between Massachusetts and Ireland. Her recent collection of poems is "Dog Watch," a book of poems that was released in 2007. I talked with her on my Somerville Community Access TV show: "Poet to Poet: Writer to Writer."

Doug Holder: You and Michael Brown took over the helm of "Off the Coast" magazine in Maine. What's the back-story to this?

Valerie Lawson: Off the Coast magazine began about 15 years ago. It was an extension of the Live Poet's Society in Maine. It was originally an anthology for the society. It later became a triennial publication. The previous owner's wife got ill with cancer, so he decided to let go of the magazine to take care of her. We were happy that the magazine had a good reputation when we took it over. We had pretty good bios that indicated we could do this. So George, the owne,r handed it over to us. We inherited a list of subscribers but no money.

So far for the first two issues we carried the magazine. This year we are in production for our 4th issue. We are short a couple hundred dollars to put this out.



DH: You guys moved from Massachusetts to Maine. Was that because of the magazine?

VL: Well no. Michael was teaching at Mt. Ida College. They closed the program he ran there. It was the Communications program. So we tossed around ideas about what we wanted to do with our lives. At one point we were looking at buying a small piece of property in Maine as an investment. It was to be a place to retire. But when the closing of the program forced the issue, Maine seemed like a cheaper place to live. We started to look at property up there and off we went. It is a six-hour drive to Somerville.


DH: You were, and still are I believe involved in the SLAM poetry scene. I think you cut your teeth in the Cantab Lounge. Can you talk a bit about your involvement? What is SLAM poetry for the uninformed?

VL: It is a poetry reading that is judged Olympic style on a 1 to 10 scale. It is really fun. It is a competition. It is basically a poetry show.

I started out with the South Shore Poets that was a typical, quiet, library series. I loved poetry. I was going to the library and I liked the series. One time at the Fuller Museum in Brockton they were putting on a poetry slam. I thought: "WOW,” this just brought the level up. It was so much fun. People in the audience were engaged and excited. I said: “I want to do that." I met Michael there.

DH: You were involved were involved with the Doc. Brown Traveling Poetry Show, no?

VL: Yes. At the old Jimmy Tingle Theatre in Davis Square.

DH: Your poem "Evening" in your book "Dog Watch" is a beautifully written piece about the beach. I can only describe it as great tidal drama? Are you drawn to the sea?

VL: Oh yeah. I am a water person. I have to be near water. We can see the bay where we live. We used to live on Cape Cod in Buzzard's Bay, and across from a pond in Plymouth.

DH: Has the move to the isolation of Maine helped or hindered you?

VL: Both. It's tough to be away from the Boston poetry community. I miss the frequent conversations. But I am getting a lot of reading done. I have more time to write.

Evening

Boats tethered in their slips,
day captains maneuver trailers—
they've waited years for the chance of a mooring.
Sandpipers and plovers fuss over minnows
and sand fleas, chase receding waves,
skitter from the next wave rolling in.
Sea lavender pokes briny blossoms
above tidal pools. The used tissue of sea lettuce
litters the sand, catches in salt marsh grass.
Terns dive, miss fish, hover
over another target.

A horseshoe crab, empty of life but
shell complete down to spiky telson
marks high tide. The long flight bone
of a gull weathers smooth nearby.
Neither bird call nor blue blood matter.
It always come to this, tossed on the edge,
still waiting for something
as the sun edges below the horizon again.

--Valerie Lawson

When Things are Tight, check out Hanging Loose The Fall 2009 issue

When Things are Tight, check out Hanging Loose
The Fall 2009 issue

article by Michael Todd Steffen

Literary journals as a rule, gathering work from several sources, tend one way or the other: to demonstrate a coterie likeness (in theme or style), or to celebrate like Walt Whitman a grand embrace of variety. The Fall 2009 Hanging Loose sets itself unflinchingly to the latter strategy, giving writers and readers, in this time of economic constraint and hesitation, carte blanche to browse and relish in a range of expressions, from thrift to luxury, from the timid companionship of a calf that follows KEITH TAYLOR’s father around in “The Cattle on the Parthenon’s South Frieze” (p. 84), to KATHY SCHNEIDER’s endearing catalog of excuses not to leave an elusive lover in “Lapigi” (99).

We look through garments, bric-a-brac, we look for others. Between her glassy liberal psychologist and the less forgiving damselflies in “Spooning” (60) JENI OLIN is brought to the surprising consumerist-wit question, “Wouldn’t it be touching/to try on people at a sample sale?”

As shoppers meet limitations, they economize with lists, lists such as the long-lined odes beginning this issue of HL. In “Ode to my Backyard” (19-21) the passage revisiting ‘the so sweet a place” where John Keats is buried in Rome echoes throughout the achieved negative capability of David Kirby’s breathless three-page poem.
Then in the array of vignettes and strophes, a gem by Rosalind Brackenbury, “Ferry across the James River” stands quietly forth in its intimacy and clarity:

the water was carved the bow wave
in a deep almost colorless curve;
you stood at the stern of the ferry
and I came to find you, I knew
you’d be there wearing your jacket,
cap and gloves; and above you
the gulls, their bellies lit by the low sun
from underneath, hundreds of them
following the wake (26).

If HL demonstrates an eye for referential literary talent, it is not blind to the harder experiences, say, of CHRISTEIN GHOLSON’s “Sleep Deprivation,” which records the twists of events in a lidless tenancy building:

One night I heard two drunk kids blubbering “I love you, man” to each other in the hallway. A bit later—fists, bottles breaking… (34).

Still with plenty of play currency for what Nabokov called “unreal estate,” an abundance of cultural acquirements and thoughts for pennies keep turning HL’s pages. We are bargain drivers, says ELIZABETH SWADOS in her poem of anxiety for the critic and author of The Anxiety of Influence, “A Question for Harold Bloom” (85). Look says MARK PAWLAK, a contributing editor, with “Apologies for Rilke,” paying legerdemain for one of the Austrian poet’s most memorable meditations on the spiritual challenge of enduring art. And just why not? Monte Python superimposes wags of a mustache on the Mona Lisa, and as Rolland Barthes has pointed out there is, when all is boiled down, no proof for semantic difference between the pop of film and belles of lettres.

We ask to read as far as the eye sees, and the dreamlike atmospheres of the acrylic paintings by ARNOLD MESCHES, HL’s feature artist for this issue, achieve intensity, volume, through the painter’s method of “unlikely juxtapositions.” Subjects of artifice, acrobats, flame-hurlers, or of sophistication, a white-clothed dinner table, find themselves in the bewildered setting of woods at night. Mesches’ technique of contrasting brilliant colors against deeply obscure backgrounds draws in and offers to swallow the viewer’s eye with enchantments of luxurious baroque ballroom interiors, as well as with the blazes of fire in the nocturnal sylvan scenery.

Mesches leaves us with an overall effect of dark surrealism bordering on expressionism, with the costumed and masked characters of children’s entertainment and nightmares, all befitting the theatrical harrowing of the Halloween season. Lock your doors. Don’t pick up that phone. And cover these paintings!

The Fall 2009 is a well-selected, finely and handsomely bound journal of intriguing and entertaining pen-craft and artistry that makes an apt companion for considerate readers of interest. It is well worth your nickel.

Hanging Loose 95
is available for $9.00
(3 issues for $22.00…) from
Hanging Loose Press
231 Wyckoff Street
Brooklyn, New York 11217
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visit their website at www.hangingloosepress.com

Terrible Baubles by Lo Galluccio

(Lo Galluccio)


Terrible Baubles.
By Lo Galluccio
2009; 56pp; Pa; Alternating
Current, PO Box 398058,
Cambridge, MA 02139,
color photos by Lo Gallucio.

Review by Hugh Fox


Lo Galluccio’s non-sequitur unexpectedness is one of the most refreshing language-/thought-variants on Planet Earth: “Explosions in the open fists of leaves/Over East 4th Street America’s quilt/Drops handkerchief for patriotic infants/Crawling the street/Who don’t fuss about the November moon/Distant fixture of frozen/Niagara.” (“Moonsong,” p. 44). And if you really start meditating on the sequences here, a whole new kind of sense emerges. There’s 9-11 hidden in here somewhere, the whole idea of the U.S. being subjected to international terrorism, all contrasted with totally non-political (moons and frost) Nature.

And behind all the epistemological scrambling there is an underlying philosophy that calls for sane joy in the midst of endless man-made jumblings: “ I had a true love, I had an angry star/He flung me near, he flung me far/No Mecca can survive such an angry star/Will the moon take me back?/Will the moon have her way?/Will it take another century, a year, or a day?/It will rise again, it will rise again/Like a child whose love is God/Shiver me hard.” (“I had a True Love,” p.25). It’s a real aesthetic trip to sail through the world of Lo Galluccio’s poetry. None of the usual 1,2,3’s, but dice-throws of logic that ultimately force the reader to re-think the whole political-psychological structure of contemporary reality. You really get inside Lo Galluccio and let her flow through you and it’s like a trip through the psychedelic Andes.

PENTAKOMO CYPRUS BY IRENE KORONAS

PENTAKOMO CYPRUS
By Irene Koronas
Cervena Barva Press
Copyright 2010
50 pages, $16.00

By Lo Galluccio


Unlike Irene’s first full-length book “self portrait drawn from many 65 poems in 65 years,” where she explores the formation of poetic language through grids of text which make allusion to various historical figures, including artists and saints, the new book is written more in the style of letters home or journal entries to a travelogue of her visit to Cyprus. In her dedication she reveals her own discovery: that her father never went back to Cyprus because they (the family) were more important to him than possessing the past.

But that has nothing to do with the acute beauty of the island which Koronas details in seemingly mundane lists that obviously transcend the normal, especially the normal American way of life. From April 7:

My own image crosses my path. caterpillar crawls
across ancient mud foundation, mountain’s yellow
wild flower face, I step on dry weeds, the quiver
on dry rock gnats chase each other

There is an unexpected interlude with a villager named John who takes a liking to Irene and invites her to stay in his empty house in back. She carefully navigates the relationship with this strange man, in whom she sees craziness, loneliness and compassion.

friday

after breakfast i walk
the chalk path to john’s farm

we talk for three hours

john loved a five year old woman
with three children. She was jealous,

hooked on amphetamines.

She dreams, she walks, she talks with relatives and neighbors. After awhile sleeping on a single bed in her cousin’s house.





sunday

1.
with bag, camera, peanuts and rain,
rain washes my hair, I duck under small tree,
sea merges with sky. on my left on my right,
mountains rub blue. My voice my walking stick
thumps, tender as aging skin, dry earth. gray
sheet hangs over distance. i run back down
full of quick insinuations

Koronas catches the moods of the days, whether she is alone exploring or participating in the village’s events. In the following anecdote the restaurant owner suggests to a group that if they lie over the saint’s skeletal home, their spinal problems will be cured.

saint erogenous

beside an open air restaurant
a small stone chuch fits ten people
wicks in oil, incense illumines entrance
plain sarcophagas dominates space

……

i unzip my thoughts
spread my body over
his tomb hewn rock


Indeed saints form an overlay or backdrop of a holy tribe in Pentakomo an island which is predominantly Greek Orthodox Catholic.

two nuns

icons kissed right to left. women stand,
men sit. restless children wander. Near the end of the liturgy
some of the men hold an icon of saint Irene, coffin above their heads…


There are rich, but simply told accounts of war stories and village encounters. One senses that Koronas has indeed resolved to feel the rain of this place while seeking
some protection, always wielding her camera to capture the scene-ery.


sunset

late day requests more
than i am willing to give

i do not want to leave my father
in olive groves, kourion’s basilica

wednesday night’s soft purple
yogurt on potato.


There are many layers to this work and it deserves several readings. It is fascinating to visit an unknown village on the Mediterranean, to see what of the ancient remains and what of modernity has struck through. Irene balances her own interior life and reactions with the lives of those around her and nature on the island. Her writing is never over-blown or embellished, but broken carefully into poetic lines which always stay in lower-case. Each poem corresponds to a day or a saint, an event, an encounter. It seems that she is democratizing the alphabet this way so no part of speech carries extra weight. Each poem corresponds to a day or a saint, an event, an encounter It is a style that works well with her highly visual and sensual sense. On May 13, she leaves the Pentakomo and in her final poem ends with a recipe for how to make ketheis or meatballs. Like the feminist message a while back that “history is lunch.” --that is a bit how Irene sees things-- close to the earth, the women, the saints, what nature gives us for nourishment and creativity. All these she walks through with grace, and an artist’s heart and curiosity.

I highly recommend this book.

Lo Galluccio

More Fulcra Poems by Richard Kostelanetz

More Fulcra Poems
Richard Kostelanetz
PRESA :S: PRESS
PO Box 792
Rockford, Mi 49341
$6.00

Richard Kostelanetz’s ‘More Fulcra Poems,’ the literal
word becomes, visible meaning. Single letters jut through
the word form, lending to even more meaning. Meaning takes
on a size and relationship. The relationship of two laid out
on whitespace, layers layered, turning the single word into
memory or recognition:

yours

usually

Kostelanetz, his minimal approach to complex situations,
political or otherwise, allows the reader the freedom of
being influenced:

smartest

shortest

these are perfect poems the reader can sit or walk around with.
participate; perceptions of meaning, I mean, the poems create
an environment; the environment is yours to build from:

start

tart

Irene Koronas
Poetry Editor
Wilderness House Literary Review
www.whlreview.com

Review of ANONYMOUS FOX by Naomi Feigelson Chase

Review of ANONYMOUS FOX by Naomi Feigelson Chase, (Turning Point, Cincinnati, OH, 2009)

By Barbara Bialick

ANONYMOUS FOX is a book you can dive right into even though the familiar yet obscure images keep you wondering what deftly sculpted insight you’re about to experience. One thing you’ll notice right away is that the author’s “veins secrete/Ink and tap water” and like “a cat keeps its own couch/I keep mine.”

She’s an individualist and yet, at the same time, just like the masses would, she dedicates this book to her grandson, Matthew, who will read it some day and see both beauty and horror concerned his grandmother, who named this collection after a dead fox Nadia wants to take the tail of, use it for a paintbrush and “bury the rest./It’s my fox isn’t it?/...As for its fur, the author says sardonically, “why not keep it…like Jews’ hair stored/in an Argentine barn/for future use…/Isn’t all death a good riddance,/Lewd providence,/Quitting earth of the useless,/The dirties,/While we expedient managers/Go about our cleansing business.”

All through the book you’ll discover metaphors from nature that turn around and surprise you. For example, in “American Brunhilde” she starts with “Summers, I sleep circled with fans,/In kind Stygian light./Shades drawn./My dreams can’t be spied on/I’ve heard folks in the next town,/So fearful of terrorists,/They’ve painted their doors shut./The mailman puts their letters in the trees.”

On the page previous, the poem “Cold Comfort” is taken from winter, “Those snowy peaks, natures’s scarred darlings,/Comfort me, like Artemis’ one hundred breasts/…Like Pittsburgh winters,/When Zadi pulled my sled up Pocusset Street…/The furred pelf of trees,/Bristling with what./Stark successes now,/ Black matter in a thousand years.”

The person to whom all this is dedicated appears in the book now and then is revealed as a fellow poet or doctor in training… Her grandson wants to know if he can pick the white flowers on the pea plants. To quote her own quote: “How do peas get into pods?” he asks. “Call me when it happens.” A universal concept of where there is youth there is hope… But then again, she reveals in “I Can Tell You Now”: “I can tell you now, I never expected this—to be old and ugly,/To turn away from the beach,/Struggle with the lid of a jar…I took misfortune’s road to the forest./Saw the warlock’s house and walked right in…”

Some of these poems were previously printed in prestigious publications like Harvard magazine and Iowa Review. She won the Flume Press poetry chapbook award and she’s published a variety of poetry books and chapbooks, nonfiction books, and fiction.
The publisher left no obvious note of the book’s price, which indicates what you may agree with when you read it, that this book is priceless…or in any case, certainly worth a read.