Friday, October 12, 2007

BUTTONED INTO HISTORY by Richard Moore


BUTTONED INTO HISTORY by Richard Moore
Pivot Press, 2006
$12.00 | ISBN 0-9726582-8-9

Reviewed by Eleanor Goodman



After William Carlos Williams and Wallace Stevens, after the advent of language poetry, post-language poetry, free verse confessional poetry and the prose poem, metrics have become dangerous territory. Most of the poetry being published today is unrhymed. Much of it lacks meter, or, some might argue, any rhythmic precision at all. (The work of Maxine Kumin and Richard Wilbur being among the major exceptions.) To our modern ear, blank verse has come to sound stilted, while trimeter and tetrameter remind us of nursery rhymes. Young poets chafe against the restrictions of rhyme schemes and the potentially deadening regularity of iambs.
Enter Richard Moore. Moore is not a young poet, nor is he afraid of traditional verse. “Buttoned Into History” is his eleventh book of poetry, and his energy shows no sign of flagging. These poems are fierce and pointed, but full of humor and intelligence. Almost all the poems are in rhyme, but for all the seeming formality, they feel loose, and at appropriate moments even slapdash. The greatest skill in employing poetic form is to make the strictures conform to the poem and not the reverse. Moore succeeds in this with surprise ease.
Notice the adroit use of feminine endings in the beginning stanza of “Politics”, one of the first poems in the book:

O it’s so dumb to mix
science with politics!
Our Parties think man’s curse is
various universes,
the way it all expands,
ordained, out of our hands.
Laborites think our fate
lies in the Steady State,
whereas the other gang
believes in the Big Bang.
Gutsy the lad who lives
with those Conservatives:
their cosmos mere erosion
after God’s mad explosion.

The unstressed last syllable in “curse is” / “universes” and “erosion” / “explosion” provide a welcome break to the singsong regularity of trimeter, and we know immediately that we are in experienced hands.
Politics is a major theme of the book. Moore is, to put it mildly, disenchanted with the current political scene. Here is the third section of “Three Little Money Songs”, with the heading “For the Inauguration of President Bush, the Second”:

Purchasing power, grab her, grasp,
and celebrate money’s last gasp.
Soon power naked – she’s a teaser –
will woo us. All Rome loved you, Caesar.

What else need be said?
When Moore’s topic ranges beyond politics, the poems seem to breathe a bit more, although he maintains his impressive formal technique throughout. One of the risks of rhymed verse is coming to rely too much on end-rhyme to create the music of the poem. Moore’s diction – ranging from the lowbrow (“soon we’re talking dirty”) to references to Sophocles and the great Ukrainian writer Gogol – occasionally does fall into flatness within a given line. When he strives for alliterative intensity, however, he achieves it – and how. His internal rhymes and assonance are reminiscent of the lamentably neglected poet Louis MacNeice, who could rewrite an insurance brochure and make it sparkle with linguistic ingenuity. Here is Moore’s gorgeous “Breakfast in Sussex”:

The sunlight splashes, fills
with glitter our tilled hills,
tractor-chopped, clipper-clipped,
and busy farmer-whipped,
their last ounce of production
sucked out by all that suction.

Our green mammary mounds
where sheep with soothing sounds
through hedge openings pass
like grains through an hourglass –
thus human life engages
the great machine, the ages;

and pulled to pieces...hush!
Breakfast is over. Brush,
as far as you are able,
metaphors off the table,
see what the world becomes.
A firmament of crumbs.

There is philosophical intensity in this as well. Without the glue of metaphor, into which all language inevitably degrades, the world crumbles. Language is a necessary screen over experience, a filter through which our thoughts travel into the world. But these thoughts themselves are metaphors, methods of interpretation. Without our constant self-talking, what world is left? What silence?
Moore’s poetry encourages such philosophizing. It encourages strong reaction, moments of aesthetic pleasure, moments of laughter. Moore accomplishes what all poets hope to accomplish with their work: he encourages us to be more human.


Eleanor Goodman/Ibbetson Update

Blood Soaked Dresses by Gloria Mindock




BLOOD SOAKED DRESSES BY GLORIA MINDOCK
Published by Ibbetson Street Press
Now available for ordering at:

http://www.lulu.com/content/1172519


This poetry book is about the atrocities committed in El Salvador during the civil war from 1980-1992. It is based on my talks with El Salvadoran refugees in the 1980's and years of research.

In San Miguel, many people are being exterminated and the atrocities continue to this day.

I hope you will order this book. The people of El Salvador should not be forgotten. I hope to carry this message on behalf of Rufina Amaya, the only survivor of the massacre at El Mozote, who died of a stroke in March of this year.



In her fascinating poem cycle, Gloria Mindock jolts back into memory the roots of El Salvador's present day violence. Mindock coaxes to the page the voices of the dead who lie, less in peace, than in restless obsession with the atrocities they suffered. She brings forth as well the voices of the living who seem startled to find that they died somewhere between the horrors they witnessed and the grave they have yet to lie down in. Blood Soaked Dresses is a beautiful, harrowing first book.
--Catherine Sasanov

We are reminded of Cezar Vallejo's witnesses: bones, solitude, rain, and the roads -- that we are tied to each other in beauty and suffering, life and death. Gloria Mindock's poems grant us the voice of a soul caught on a limb between the promise of peace everlasting and impossible resurrections. Poem after poem we are asked to uncover those whose bitter ash weeps over the world, and no other country/wants to see it. This book is written from a compassionate heart that whispers and grieves, one that isn't afraid to hold its gaze.
--Dzvinia Orlowsky

A poet must never shy from the necessary, no matter how hard it is. In poetry that is both elegant and brutal, Gloria Mindock exposes the horror of the Salvadorian conflict especially on women. Though Salvador has faded from the front pages, the war has reincarnated in other countries on other continents making "Blood Soaked Dresses" completely contemporaneous. This poetry possesses, as Yeats said, "a terrible beauty." And we need it now more than ever.
--John Minczeski

The reader of Blood Soaked Dresses is enriched by Mindock's power and commitment. She has earned a place among our great protest poets, reminding us, with lyric tension, that social justice is our constant and necessary concern.
--Simon Perchik

Wednesday, October 10, 2007

Interview with Tom Perrotta with Doug Holder



Interview with Tom Perrotta

With Doug Holder.

Tom Perrotta is an American novelist and screenwriter best known for his novels “Election” (1998) and “Little Children”(2004), both of which were made into critically acclaimed, Golden Globe-nominated films. Perrotta co-wrote the screenplay for the 2006 film version of Little Children with Todd Field, for which he received an Academy Award nomination for Best Adapted Screenplay. Perrotta will be the headline featured reader at the Somerville News Writers Festival Nov. 11, 2007. I interviewed Perrotta recently for “The Somerville News.” For information about the Somerville News Writers’ Festival go to: http://www.somervillenewswritersfestival.com




Doug Holder:Tom for the last twenty-five years I have worked at the psychiatric hospital "McLean Hospital" in your hometown of Belmont, Mass., so I am aware of what the town is like. In your book "Little Children" you seem to fashion the setting after a town much like Belmont. The Boston Globe once opined that Belmont was the most "boring" town in the state. How is it for a writer?


Tom Perrotta: I live about ten minutes from Harvard Square, so my cultural life isn't limited to Belmont.


DH:From some of your novels that I read I get a sense of contempt for the 'burbs. Are you of the mindset that the suburbs are the home of "broad lawns and narrow minds" as Hemingway once wrote?


TP: I have no contempt for the suburbs whatsoever, and am puzzled when people observe that about the books. I grew up in the suburbs and live there now. "Little Children" isn't so much about a place as it is about a time of life--the period around age 30 when adulthood sets in for good--and about the ambivalence a lot of people of my generation feel about parenthood. Any of the dysfunction found in the suburbs can be found in the city and in the country, too.

DH: Were you influenced by any of the "chroniclers" of the suburbs such as: Cheever, Richard Yates, or Updike?


TP: Updike's Rabbit books are a huge influence. I particularly love "Rabbit Redux," the novel in which Updike creates a microcosm of the 60s in one house. I tried, in my own modest way, to achieve something similar in "The Abstinence Teacher."

DH: Any favorite Somerville-based writers?


TP: Steve Almond, Pagan Kennedy

DH: Did you ever dabble in poetry?


TP: Nope.

DH:This will be your second appearance in "The Somerville News Writers' Festival". We are quite grateful. I am aware that you will be on tour and will be reading at larger venues, across the country. Do you have a commitment to the local literary community?


TP: I love the local writing community--I think it rivals any in the country--and I enjoy my hometown events way more than I enjoy being on the road,


DH: Are you a frequent visitor to Porter Square Books and McIntyre and Moore?


TP: They're both excellent stores, though for some reason I don't get to them as often as I'd like. I end up doing a lot of my book shopping in Harvard Square.

DH: Can you tell us briefly about your new book: "Abstinence Teacher?"


TP: "The Abstinence Teacher" is a novel inspired by the culture war that's been going on for the past twenty years or so. It has two main characters, one a liberal sex education teacher, the other a born-again Christian, who live in the same community, and whose daughters play on the same youth soccer team. The novel explores the separate worlds that they live in, and also tries to shed some light on the things they have in common as well as on the things that divide them.


DH:It is a popular notion in literary circles that Hollywood can ruin a writer. William Faulkner said that if you are going to be ruined, you could be ruined anywhere--or words to that affect. What's your take?

TP: Faulkner spent some time in Hollywood, and it didn't seem to ruin him. I like movies, and I like writing for them. I just don't see any downside to it, as long as I can set aside the time to keep writing fiction.


Doug Holder http://authorsden.com/douglasholder

Friday, October 05, 2007

Tapes of Boston-Area Poets Available


Since 2003 I have interviewed poets and writers on my show “Poet to Poet: Writer to Writer”



http://www.poettopoetwritertowriter.blogspot.com and for my arts column: “Off the Shelf” in The Somerville News.





Video Tapes $16 (includes postage and handling)





Partial list of tapes below. For archive of interviews go to the site listed above.







John Hodgen: author of “Grace”



Luke Salisbury: author of “Hollywood and Sunset”



Sidewalk Sam: “Sidewalk Picasso”



Tino Villanueva: acclaimed Chicano poet



Harris Gardner: founder of “Tapestry of Voices.”



Martha Collins: author of “Blue Front”



Sarah Hannah: author of “Longing Distance”



Richard Moore



Michael Brown : founder of the “Cantab Poetry Slam”



Jim Kates: Zephyr Press



Lois Ames: social worker to Anne Sexton and Slyvia Plath



Charles Coe: Mass. Cultural Council



Louisa Solano: former owner of Grolier Poetry Bookshop



Danielle Legros Georges author of “Maroon”



Afaa Michael Weaver: “Plum Flower Dance’



Hallie Ephron : Boston Globe Mystery Book Columnist and author.



David Slavitt: “Blue State Blues"



Gary Duehr: Poet, photographer, director



Robert K. Johnson “ From Mist to Shadow”



Lo Galluccio “Hot Rain”



To order:



Send check to:



Doug Holder

25 School St.

Somerville, Mass. 02143

617-628-2313

dougholder@post.harvard.edu

Thursday, October 04, 2007

SARAH HANNAH (1967-2007) – A LONGING DISTANCE by Lo Galluccio






SARAH HANNAH (1967-2007) – A LONGING DISTANCE
By Lo Galluccio

Yes, right now there is a longing distance between myself and this brilliant dead poet – Sarah Hannah -- for whom I will read and honor the upcoming Writer’s Festival in Somerville this November 11th. That is her book, her first published poetry book – Longing Distance -- which Doug Holder sent me to review months ago. It is a beautifully cosmically colored lush pink book, a semi-finalist for the Yale Younger Poet’s Prize and one which I was, frankly, afraid to review. How strange looking back on it now. Why was I afraid to review this particular book after reviewing so many other works of PhDs and accomplished academic poets for Ibbetson St. Press?

What a mistake I made not to review her work then. How much I might have learned and gained in inspiration. On the subject of pink, that girl color, that deep vortex of cosmos color with stars embedded on the cover, she writes in the poem:

“The Colors are Off This Season”

I don’t want any more of this mumble—
Orange fireside hues,
Fading sun, autumnal tumble,
Stricken, inimitable – Rose.

I want Pink, unthinking, true.
Foam pink, cream and coddle,
Miniskirt, Lolita, pompom, tutu,
Milkshake.”
P 14,

Yes, there I see my namesake, Lolita, and there I see that wonderful cascading Hopkinesque and Plath-like brocade of images, the colors come alive with emotion, motion and vibrant association. That’s a poet. She wants something that’s not there, something of her own invention. She’s a girl imposing her vision on the landscape. It’s her whim and this rather painful, playful division between what’s there and what she wants to be there. Funny, because that’s why I’m Lo. I’m Lo because I took the name when my first solo CD, Being Visited, came out on the Knitting Factory label in New York. I had secretly wanted to be a sexy tough singer maybe with heart-shaped sunglasses through which to view the world. I had been called that by first boyfriend at Harvard College. I wanted to be something other than my former self. I wanted that after my father died and when I became a poet and singer in New York. Different from Sarah, who was systematically called and systematically brilliant in her studies. Sarah, I think, always had her head on straight, more or less. Wesleyan College, A student, Columbia University PhD in Poetry and then Emerson College Professor of Literature and Writing. According to the Boston Globe story, she also wrote on ‘sheaves of pink paper.”

I met and read alongside her at a reading at McIntyre and Moore bookstore later that year – what season now I can’t remember-- and I was struck by how fine boned and how forthright she was. Again, we did not have much contact but I was very impressed by her. I failed to comprehend again that though this brilliant blonde from Newton, MA was more of an academic poet than myself, we had both traversed similar orbits and held similar passions: New York City, rock music/music in general, and strangely some, well carry-over NYC hip ness and scars. Here was actually someone who, like me, had been favored with intelligence and creativity and drive, but who had also seen it all fall apart. And then, from there, I have to get to the fact that I’m here, after three suicide attempts and brave Sarah, in one swift stroke, is gone. In May of 2007, after moving to Brookline, following a recent divorce from her husband, she committed suicide at 40.

In the SCAT TV interview with Doug Holder, she says that Longing Distance was named after watching her husband scale some rocks and that it came from the idea of messed up love affairs and “absence making the heart grow fonder.” So there is the idea of the unreachable or unattainable love in the very title of the book. Despite her upbeat and nourishing and sometimes humorous aura, Sarah, like Plath, knew tragedy was near. This book is a masterpiece of word play and an amazing amalgam of a kind of urban princess who could also peer into the high-blown intricacies of nature:

“A storm swathes the Atlantic coast:
Heavey Snow, Blowing Snow; Ceiling Low; Dewpoint Twenty.
The Capes, those lonely outposts,
Are summoned like deities: May, Cod, Hatteras,
Waters green and roiling….”


Colette Inez, one of several rave reviewers, commented:
“Astronomy, Renaissance literature, mythology, music, a love of wit and verbal play combined with a passion for form and scholarship resonate in this lively collection of poems that marks Sarah Hannah’s exciting debut…”

Sarah had a full-blooded teaching career at Emerson College, where she was adored by her writing students and played guitar in a rock bands, an avocation and passion she’s begun in New York City where she’d spent 17 years paying dues to develop an original poetic voice in this country. She returned to Boston, which was her home, because she wanted to be in the “underdog” City as she put it.

Her second work is forthcoming on Tupelo Press and it deals with her mother’s mental illness. She finished it before she died, “Inflorescence” and this work shows that Sarah had a passion for people as well as for metaphysical language; that she was also wrestling with a depression in the family, maybe in her mother only or also in herself. The cover features a gorgeous gold burst of flower enveloping both of them. Readings from it by poets and friends will take place at the Poet’s House at 72 Spring St. in New York City on October 25th from 7-9 pm. I go there on a mission to learn more about Sarah, to hear more of her work and to revisit the City which made me an artist, the City I still like to think of as the badlands, as Oz, as home. Really, it is another chance to pay homage to Sarah before I read in November from her work.

Oh that Sarah and I had had a chance to talk over a green tea latte at 1369 in late April. Oh that I might have told her that my break up with a world-famous guitarist nearly killed me, and so did the psych ward aftermath of my own suicide attempt. Maybe she would have realized something still very good about her own situation. Because the problem with poets is that they get very dark and have a tendency to think they can figure it all out themselves, or have to. Without someone shining a fine light or turning the right key in their minds they can miss the fact that against all that agony, they still have important cards to play. That’s the real tragedy of the suicide of an artist. However, Sarah’s work lives on and so does her memory. May she spin on in another dimension….

Lo Galluccio
Ibbetson St. Press
Author of “Hot Rain” and numerous publications
www.logalluccio.com
For more information on Sarah Hannah Google her or visit Tupelo Press’s site

Monday, October 01, 2007

Inside Light by Deborah DeNicola




Eleanor Goodman is a new reviewer for the Ibbetson Update. She has an M.F.A. from Boston University. She is also a member of the "Bagel Bards," and teacher at Grub Street in Boston.


Inside Light
by Deborah DeNicola
Finishing Line Press
$14.


Art and religion are inextricably intertwined. Poets as diverse as Czeslaw Milosz, Wang Wei, and the Sufi poet Jelaluddin Rumi have attempted to express the inexpressible in their work. In her short collection of poems titled “Inside Light”, Deborah DeNicola makes a lively foray into this tradition.

The poems, twenty-seven in all, are unified by the common themes of Christianity, family, ekphrasis, and ecstatic experience. DeNicola retells some of the familiar biblical stories from new perspectives, and manages to enliven this well-trodden territory. In “John Baptizing Jesus”, the tone is of feverish discovery: “They say he lived on wild honey and the long torsos / of locusts, that he dressed in fetid camel pelts / and rags, and that he ranted / as if he had a finger in a messianic / socket”.


This intensity of language serves DeNicola well throughout the book, as does her ability to combine the ancient with the modern – bathtubs with higher beings, molecules with “notes of Gregorian chant”. This grounding in the everyday saves the poems from being overly esoteric, although fortunately DeNicola also allows herself moments of true revelation. In “Last Judgment”, she writes of “those reliquaries deep in the solar plexus, / dousing the fiery fields where fear is eaten whole by risk.” Religious experience speaks to fear, and to fire, and to the sense that the physical body is both intrinsic and vulnerable to the heat. It is an impressive feat that this sense of peril is captured in nearly every poem in the collection.
Vivid detail and creative juxtaposition are also among many DeNicola’s strengths. In “Magdalen”, she writes of “The Sorceress of Magdala, I knew / the patterns of imbalance / which horn beam cured. / Tranquility induced by larch and beech. / Stirring palliatives of aspen and clematis / in a slow boil of weeds, I mixed elixirs for dropsy / and warts.” The consonances running through these lines demonstrate a fine ear for the music of language.


Some of the most touching poems deal with family. In “Mother Incarnate”, DeNicola explores the issues involved in coping with an aging parent with unusual sensitivity and depth. “Proud mother who says outloud nonetheless, / she’s aware of her mind’s decay.” It takes a poet – such a painful profession! – to see in one’s mother “the visible skull behind her smile”.


The lesson to take out of this collection, aside from simply admiring the talent and effort of honesty it took to write it, is expressed in the very first poem, “The Bath Tub Is Optional”. DeNicola writes: “The busyness of quietude, / the eventually banished will, / waftage of oxygen / pouring through pores, new atoms magnetized / till your chanting stills, though the spooks / warbling through your throat rewire you / completely, so you’ll cry at nothing at all / because everything matters.”



Eleanor Goodman

Sunday, September 30, 2007

The Somerville News Writers Festival Nov. 11 2007

The Somerville News Writers Festival: Five Years and Still Growing Strong

By Doug Holder



This is the fifth season of The Somerville News Writer’s Festival. When Tim Gager and I started the festival in November of 2003 we thought it would probably be a one shot affair. But much to our surprise it has become an annual tradition. With the support of The Somerville News and the Norton and Tauro families, we have presented an impressive roster of local and national poets and writers to the folks of Somerville and beyond. Over the years we hosted such readers as: Pulitzer Prize-winning poet Franz Wright, Lan Samantha Chang (head of the Iowa Writers' Workshop), Alex Beam (Boston Globe Columnist and author of “Gracefully Insane”), Andre Dubus lll (author of “ House of Sand and Fog), Sue Miller (“The Good Mother”), Hallie Ephron, Pulitzer Prize- winning novelist Robert Olen Butler, poet Afaa Michael Weaver (author of “ Plum Flower Dance.”), and many others.



We have also founded an Ibbetson Street Press Poetry award. The first winner last year was Newburyport poet Michael Alpert. We have had quite a few submissions this year, and are pleased with the interest that has been stirred up.



At each festival we award an “Ibbetson Street Press Lifetime Achievement Award”. “Ibbetson Street” is a Somerville- based small literary journal and press, that gives the prize out to people who have played significant roles in the small press and or the poetry community. Previous winners have been Jack Powers (founder of “Stone Soup Poets”), Louisa Solano (former owner of the “Grolier Poetry Book Shop”), Robert K. Johnson (retired Suffolk University professor and author of “From Mist to Shadows.” (Ibbetson 2007)), David Godine, (founder of David Godine, Inc.), and this year the winner will be Robert Pinsky, former Poet/Laureate of the United States and founder of “Americans’ Favorite Poems Project”). I am proud to say I was in Pinsky’s first “Americans’ Favorite Poems” anthology with my introduction to Robert Lowell’s poem “Waking in the Blue” The poem was set at McLean Hospital where I have worked and run poetry groups for over 20 years.





Our fifth festival (Nov. 11, 2007 at 7PM) at the Jimmy Tingle Off Broadway Theatre will of course be hosted by the comedian Jimmy Tingle. There will be a number of featured readers in the poetry and fiction categories. Tom Perrotta (author of “Little Children,” and nominee for an Oscar by the Academy of Motion Picture Arts) will head a line up that includes: Steve Almond, (author of “Candyfreak”), Stephanie Gayle, Errol Uys, Joe Ann Hart, and Timothy Gager (cofounder of the Festival)



In the poetry category we will have Somerville poet and publisher Gloria Mindock author of “Blood Soaked Dresses (Ibbetson 2007) ), Danielle Legros Georges ( Lesley Professor and author of “ Maroon”), Irene Koronas, ( Wilderness House Literary Review poetry editor), Lo Galluccio ( author of “Hot Rain”) and yours truly Doug Holder.





In the past we have had such talented singer/songwriters as Jennifer Matthews, and Meg Hutchinson perform as part of the festival. This year the literature will be complimented by the music of the “Swaggering Growlers.”



Of special note poet Lo Galluccio will read from the work of the late Boston poet Sarah Hannah. Hannah, a lecturer at Emerson College and a brilliant poet, tragically took her own life at the tender age of 40. The Tupelo Press is releasing a collection of her work this fall, ( “Iridescence”) her previous poetry collection with Tupelo was “Longing Distance.”

As always we thank Porter Square Books, and Grub Street for sponsoring this event. We hope you will join us this year. Go to: http://somervillenewswritersfestival.com for more information.

Wednesday, September 26, 2007

Interview with writer Carl Von Essen: “The Hunter’s Trance: Nature, Spirit and Ecology.”


Interview with writer Carl Von Essen: “The Hunter’s Trance: Nature, Spirit and Ecology.”

Carl Francis Von Essen is a M.D. who has studied medicine in California and Sweden. He has practiced and taught in the United States, India, Switzerland, and served the World Health Organization in Sir Lanka and Zimbabwe. He is the author of “The Revenge of the Fish God: Angling Adventures Around The World.” His new book is titled:” The Hunter’s Trance: Nature, Spirit and Ecology.” It deals with the feelings that can be released from deep within us as evoked by nature. It explores the phenomena of nature mysticism through the perspective of poet, outdoors people, scientists and others. Von Essen believes that this exposure to our inherent spiritual power can curb the threat of a global environmental disaster. I spoke with Von Essen on my show: “Poet to Poet: Writer to Writer” on Somerville Community Access TV.

Doug Holder: The book explores nature mysticism, its psychic and biological roots. It is a celebration of nature, the sometimes ecstatic feeling it evokes, which at times has an almost religious fervor. Do you believe ‘God” is behind nature? Are you a religious man?’

Carl Von Essen: No. A spiritual man I hope. And I make a distinction I hope between spirituality and religion. It is sort of an arbitrary separation I think. I think we are all religious, and perhaps we are all spiritual. Perhaps spirituality leads to religion. Organized religion is a step beyond. But I am not a church goer. I believe there is a force in the universe that created us.

DH: What is your definition of spirituality?

CVE: Spirituality to me is the sensation beyond our actual mundane life; what is beyond what we see and feel. There is a feeling of unity with the Cosmos. A feeling of a unity with nature. We are part of everything else. We are not unique. Nor is life unique.

DH: Was this book more important for you to write now that you are well into the second half of the roller coaster ride so to speak?

CVE: I suppose. I retired many years ago. Up to that point I was involved with career and other matters. I had not that much time to think. I have had more time to think ever since. Also I am a fisherman, and fishermen can be quite philosophical.

DH: Obviously being a MD and a man of means, you were able to travel the world and experience the grandeur of nature. You are more than a tourist, yet you are passing through. The poet Les Murray once pointed out that if someone was born into a third world country and experienced draught and floods, the relentless summer heat, he might have a less celebratory attitude to nature.

CVE: True. Nature is by no means kind to us. Nature is neutral. Somebody who has been raised in rugged conditions would know this. Humankind has caused most rugged conditions though. Natural man coexisted with his surroundings. We have created urban jungles, sprawl, and the destruction of nature. Man has created all this in the last several centuries.

DH: You have a great love of nature. Why do you live in the city of Cambridge, Mass.?

CVE: Well, I used to live in the countryside. We have a duty to protect our environment. Living amidst urban surroundings can be a form of protecting our surroundings. And we can still go out to the country. When urbanization is done properly, we can enjoy nature. I can walk along the Charles River and that feeling of being one with nature can be achieved.

DH: The title of your book is the “Hunter’s Trance.” The “Hunter’s Trance,” is a total mental and physical concentration whereby extraneous signals, internal and external are diverted. The hunter goes into a meditative state where he merges with the world as he tracks his prey. Would you say then the gun-toting, NRA member, hunting a deer, is more in touch with nature than the average Joe?

CVE: Yes he might be. When you say “Average Joe” what is that?

DH: You write that it is important to instill a love of nature in children. You said it should be taught in schools. Do you have any sort of program in mind?

CVE: Well I don’t have answers to that question. Wilderness programs for the young should be fostered and encouraged. The very young are the most spiritual, as far as I can see. In youth we are more with nature, and then there is a gradual decline.

DH: Would most scientists describe this ecstasy with nature as purely biological—perhaps as psychosis?

CVE: No it’s not biological. The question of psychosis is another question. Mysticism has often been associated with psychosis. It is called a “altered state of consciousness.” This state is a huge basket of conditions that include audio and visual hallucinations. Pure and simple spirituality of being, having a wonderful feeling in nature, is not psychotic.

DH: Can I get that ecstatic feeling walking on a verdant stretch of Highland Ave.in Somerville instead of on a mountain in Tibet?

CVE: You can have it anywhere. T.S. Eliot had it when he was a student in Boston. People say it guided his writing and life ever since.

Saturday, September 22, 2007

Impeaching George W. Bush..." ( World Audience Books)


Impeaching George W. Bush..." ( World Audience Books)


Impeaching George W. Bush and His Administration;
Essays by Different Writers
A World Audience Book
August 2007
New York, New Castle
www.worldaudience.org Reviewed by Lo Galluccio

Hot of the presses is an ample and acute journal of essays, critiques, poems, reflections and treatises on two basic subjects: why the Bush administration should be impeached and why the war in Iraq should end. This journal represents a diverse group of international writers driven by a “focused outrage” on these issues.

The basic idea behind impeachment is that it would show the world that America is willing to investigate a corrupt government and try to save our Democracy against internal abuses of power and the misguided policy which has caused the ravages of war in Iraq because of an American occupation.

In his essay “We, the People” Editor M. Stefan Strozier states:

“Right now, America is facing a lot of trouble. This has been the case ever since President Bush took office. In life, there are different kinds of troubles. The trouble America faces right now is potentially irrevocable. President Bush has 18 months left in office –the perfect amount of time to impeach him. President Bush is leading us down a path from which we might not emerge. The only way to stop this from happening is to impeach President Bush, and soon.”

Strozier goes on to say that impeachment amounts to a form of accountability, a way of taking responsibility for our actions, for our failures in Iraq and Afghanistan, for our failure to have any real impact on the so-called real terrorists (Osama Bin Laden, for instance is still at large, while Sadaam Hussein did finally swing from a noose as a war criminal.) He states vehemently, “Impeaching President Bush would demonstrate to the world, clearly, that we are a good nation of strong people.”

And he goes on to quote Lincoln’s Gettysburg Address – the famous section about not allowing those who have died to have died in vain, in a war where over, compared to Iraq 625,000 American soldiers died in an internal battle over issues of great economic and racial consequence to our country. And then to the futility and failure which the war in Iraq has proven to be over the past 6 years. Ironically, we’ve in fact helped instigate a civil war in that country between various religious tribes that were in some sense held at bay by Hussein’s dictatorship.

The bottom line for Strozier is that if we are fighting in Iraq we must fight for something right and stand for humanity not just democracy. Our history of foisting Democratic governments on other countries by force leaves a fairly poor track record.

Essentially Strozier states that “a general is not a general” But, the hitch is that he is, in times of war, the Commander in Chief. The issue it seems to me is that this war was started under false premises, declared won under false premises and continues to be fought without any regard to the clear evidence that it cannot be won. And the cost in human life, over 3,000 American soldiers killed and up to 100’s of thousands of Iraqi’s killed, aside from the financial cost of over $530 billion in government funds spent, is more than criminal waste. There may be just and unjust wars. This one, it seems to me, cannot be classified as a just one. And that is good enough reason to go along with an impeachment proceeding.

I think it is worth noting that there have been three Presidents within the past 30 or so years who were brought to impeachment by the US Congress and Senate. President Nixon was impeached after the Watergate scandal was leaked and found guilty of bugging Democratic headquarters at the Watergate Hotel. He was essentially put on trial for a charge of wrong doing and before convicted on many counts, including misusing the C.I.A., he resigned from office. Remember the backdrop prior to the Pentagon Papers and the Watergate Scandal in the 1960’s under Nixon, was the Vietnam War, the closest equivalent, I think we can find to the current war in Iraq. Nixon's last days in office came in late July and early August, 1974. The House Judiciary Committee voted to accept three of four proposed Articles of Impeachment, with some Republicans voting with Democrats to recommend impeachment of the President.

The final blow came with the decision by the Supreme Court to order Nixon to release more White House tapes. One of these became known as the 'smoking gun' tape when it revealed that Nixon had participated in the Watergate cover-up as far back as June 23, 1972. Around the country, there were calls for Nixon to resign. He did so on the evening of August 8, 1974.

The other President who was called to trial for possible wrongdoing in office was, of course, our charismatic Democratic President from Arkansas, Bill Clinton. On a much less important scandal, at least to most American people and certainly I think, it is safe to say the rest of the world, especially Europeans.

Bill Clinton was impeached by the House of Representatives on December 19, 1998, and acquitted by the Senate on February 12, 1999. The charges, perjury and obstruction of justice, arose from the Monica Lewinsky scandal and Paula Jones law suit. While there was an issue of the President having committed perjury in his denial of sexual relations with Monica Lewinsky, a 22 year old White House intern and some division in opinion over the President’s culpability, he was not forced to resign from office but reprimanded with a monetary civil suit of some kind.

These are vastly different cases of Impeachment and so it needs to be noted that impeaching a Presdident really means putting him on trial, it does not mean automatically having him/her thrown out of office.

In “The Finger and the Moon” by Tom Frozart, he lists three reaons for impeaching George W. Bush:
· Serial lying; bogus claims about special power, WMD;
· Conducting an illegal war; faciliation of crimes as described in Nuremburg Charter and Geneva Convention on POW;
· Committing/iinducing his adminstration to commit a sizable number of federal crimes against civil liberties.
Under the heading a “A big Step Backwards for Democracy” Tom writes,
“The current situaiton in Iraq is going a step further with the outsourcing of military prerogatives to private organizations that usually fall into the category of mercenaries. War is more and more a a funding of business with public money, and lives; to do so, deals have even been struck with foreign countries to compose a motley alliance mixing formal democracies, authoritarian reigning families, and mafia style gangs. In other words, we are going full-speed in reverse gear; warlords of the medieval age didn’t act differently, and already invented the free circulation of people in chains.”

Franklin W. Liu, an editorial, essay writer, visual artist and reviewer who has traveled the world from his home base in Hong Kong writes a rather lyrical history of his own relationship to America as the foundation of Liberty, using the famous Statue in the NY Harbor as a pivot point. In one passage of his chronology he writes:

“President George W. Bush, in fact, upon the commencement of the Iraqi War declared that the United States reserves the right to use any weaponry in our military arsenel, including our nuclear weaponry. Thus with this wanton, reckless rhetoric, President Bush opened the floodgage for other countries to rush into nuclear weaponry development and may have pushed al Quaeda to seek suitcase nuclear devices via the black-market. Critics say Presdident Bush a born again Christian, has witlessly brought the world one step closer to the Bliblical End Times..”

Of course there are also those who think it significant that our President is also a somewhat recovered alcoholic or one acting like a ‘dry drunk.”

To interject a few of my own observations: I believe that had Bush tried to enforce a draft as in the Vietnam War in the late 60’s so that more middle and upper class young people were affected by this debacle, many more people would have protested this war in the streets. It also saddens me a great deal that the facts are that most of the American soldiers fighting are on the 3rd, 4th or 5th tour of duty and most are young and from rural areas of the country. In one New York Times article I read, these soldiers, before returning to their regiments, even write in journals of dreaming about their imminant deaths, and can do nothing to stop their fate except writing letters to their children to keep them strrong and with faith in God and sacrificing for one’s country. I also read at one point that, while we have virtually destroyed the infrastructure of Iraq, and many soldiers die because jeeps simply fall off faulty or broken road lanes, there are now over 6 million cell phones in Iraq, up from the under 100,000 pre-War. That was an Associated press statistic. It really makes you wonder the kind of quality of life that America is bringing to the world. Sure it’s great to have a Nokia when you’re in a bind, but if you can’t reach a doctor or a tow truck or friend who’s just been killed by a suicide bomber, is the Nokia worth that much?

And there is the supreme irony that Osama Bin Ladin is still at large and that he, not Sadaam Hussein masterminded 9/11. So, with all our U.S. intelligence and fire-power, why does this man elude us? According to a PBS special that aired some months ago, our invasion of Iraq was a dream come true to him, because since the time that Anwar Sadat was assasinated for being fairly friendly toward the West, Muslims decided that there was a loophole in the Koran and that they could fight and kill each other. Bin Laden hoped that he could provoke American to attack a strong Middle Eastern civilizaiton like Iraq. That was really when the rise of the extremist Muslim movement took hold and Osama Bin Laden visited America and unfortunately, according to this special, didn’t really like our manicured suburban lawns or our lindy hops. I could understand the lawns, but I can’t really understand who could hate the swooning swing of 1950’s high school be bop and rock and roll dances. It makes no sense to me. Then, again I’m not a devout Muslim. The point being, that as an enemy of American wealth and indulgence, Bin Laden hoped that he could provoke America to attack a strong Middle Eastern civilization like Iraq. And that is exactly what George Bush did after the attack on 9/11, The point also being that after the World Trade Towers in NYC were attacked that day much of the world was on our side. They were pretty sympathetic to thousands of secretaries and even CEOs going up in flames and “W” did the exact opposite of what he should have done. He didn’t use his little grey cells. He didn’t rally international support or wonder what this terrorist movement based in the Middle East was really after. He just went to war against that oil-producting country whose leader his ole’ Daddy had a grudge against. And it created one of the biggest messes in history.

Hugh Fox, poet, writer, reviewwr, anthropological scholar and all-around humane visionary has this to say. He sees what’s actually happening here in America as a result of Bush’s policies and this war:

“I mean they’re closing down schools, reducing the sentences of criminals so they can pay less to maintain prisons, raising the tuition at the university, closing down plants, thousands of people out of work, crime up, on some streets most of the restaurants and stores and factories are for sale/lease.
In the meantime trillions are being spent sending soldiers over to a country at civil war with itself, as if the English had sent over troops to stop the American civil war….

So, it’s not just getting involved with the wrong war and putting the US economy into the worst debt it’s ever been in, not just the killing American troops, all the concentration being focused on nonsense (while the bad-guy Arabs are planning their next big massacre!) but no concentration being focused on the American middle and lower classes, no concentration being focused on manufacuring, on the protection of American foods, toothpastes, you name it.’

Particularly impressive is a 10 part imagistic expose by a NY based psychologist and singer/songwriter named Dr. Mel Waldman who in a montage of styles describes the horrors of the war. It is poetic, and declarative, psychological and metaphorical.

In his intrduction he writes:

“This war is a labyriinth and we are trying to find our way out. But for now, we are lost in a dark dreamscape of unspeakable violence and death, a black holEof depair tht is vast and incomprehensible…”

Other parts are titled 1. THE INVISIBLE SOLDIER, 2. WAR IS EVIL – SOMETIMES NECESSARY / THE STREETS OF PLANET EARTH 3. WAR IS INSANE 4. WAR IS FREUDIAN: A REPETITION COMPULSION 5. THE IRAQ WAR SEEMED JUSTIFIED 6.PRESIDENT BUSH SEEMED ENCHANTED BY LADY VIVTORY 7. OUR SAFETY IS QUESTIONABLE. 8 ADAAM HUSSEIN’S HANGING SEEMED INFLAMMATORY 9. THE WAR IS LITERARY 10. WAR IS TRAUMATIC

As far as I know Presidential candidate Barack Obama is mounting the strongest drive to impeach President Bush and end the War in Iraq. There will be numerous demonstrations in Washington this month against the war though it is interesting that they are not getting the kind of prime-time coverage one would have thought they deserved. In almost every poll the majority of American votesr want the war to end but the Senate and Congress still seem gridlocked about how to ease out of the situatoin gracefully. Bush, it seems, is just trying to save face.

M. Stefan M. Strozier has put together a mighty colleciton of pieces – many of which I couldn’t include, of short letters to the Editor and poems also, about why impeaching Bush could lead to an end to the War and a return to a sense that America is willing to hold it’s highest leader accountable for his worst mistakes.
The journal is available on-line through World Audience Press at www.worldaudience.org.

Lo Galluccio/Ibbetson Update contact her: lo747@hotmail.com>;
Labels: Galluccio on World Audience

Monday, September 17, 2007

CONNECTED VOICES by Natalie Lobe - March Street Press,

CONNECTED VOICES by Natalie Lobe - March Street Press, 3413 Wilshire, Greensboro, NC / rbixby@earthlink.net / 47pps / 1-59661-044-1 / $9.00 http://www.marchstreetpress.com

Thrice segmented, the first is steeped in nature, as in "At the Rim," teetering on the edge of the Grand Canyon, a synonym for the peril of life, all enveloping, before being cast to sea in "Glosa" - "where licorice dolphins/play tag with ships and coral reefs" again, a metaphoric play for the citified destruction of our earth. "Every city a landscape of rubble,/every forest smoldering ash./Then imagine the whole/ocean oil-choked and stagnant,/pelicans shrouded in scum." Then "Moon Uprisings" gives us a Pagan slant, albeit the scene "In Beijing Park, toddlers/with full moon faces/and new moon eyes/smile at long nose strangers/with Nikon hands."
Part two offers a glimpse of Jewish history and tradition, from Israel to "Ellis Island circa 1920," where the mix of clothing customs perplexes the anxious wife on board, 9 years after her "Yaakov" made America his home. "The women in New York City, they don̢۪t wear/babushkas or fourteen petticoats" lamenting that "When I am inside all that cotton/nobody's poke can hurt me." And, inevitably, the Holocaust with her evoking poem, in its entirity;

"Untitled"

No matter how hard she pulls
the wedding band will not slide
off her finger past the swollen joint.
The thick faced guard scowls,
Gehen, and then turns to the next.
Not worth touching the old Jew.
Clutching her sore left hand
she shuffles on.

Later, in the ash a gold circle glows
incongruous, defiant.

Part three brings us back to a perfect blend of matriarchy, nature and my favorite, "Henrietta's Garden." Lines of note;

She nurtured her garden with kitchen slops:
potato peels, apple cores, watermelon seeds
steeped inside a white pail half full of dishwater.
When the pail grew heavy with liquid muck

she flung her brew on the flowerbeds.
Vegetable seeds from the swill took root
pairing zinnias with cantaloupe, lilies with peas
...
The crazy quilt of purple, red, gold, green,
the fragrance of rose in zucchini,
finger-length beans, a cucumber's girth
still dazzle my brain.

Snippets of childhood into adulthood with a keen eye for detail and a feel for emotion has this collection ending, appropriately with "Ode to a Landfill" - "Keeper of the past,/cracked vessels,/broken bedsteads,/tarnished crass./Baby dolls/eyes gone" as I fear we all, too, shall someday be. A strong fabric of life, meant to last, to endure, to give history, to evoke and to share.

Cheryl A Townsend/Ibbetson Update/ Sept. 2007

One time editor/publisher of Impetus/Implosion Press. Most recent poetic appearances are in Zygote In My Coffee and Abbey.

Shin Yu Pai "sightings," selected works, (200 - 2005)


Shin Yu Pai "sightings," selected works, (200 - 2005) $16.00 1913 Press www.1913press.org 1913 pressbox 9654hollins universityroanoke, virginia 24020


The rhythm of Shin Yu Pai’s book, ‘sightings’ reaches
from present form to past particles. her form often
sings. broken into four parts, each section holds it’s
own beat. ‘the love hotel poems,’ blast us with
reality…”jesus the name of just another john.”
consumerism and the philosophy of consumerism are
attacked in a sublime soak, and we readers blot up the
excesses.

the second set of poems kick off, “unnecessary
roughness,” the locker room, band practice lists, the
ever present dilemma poets face in presenting their
own time. Shin Yu Pai plucks us out of the ordinary
and dips us in the opposites. the poet ties us up and
makes us listen. she sits us in front of a video
screen, “concave is the opposite of convex,” her
explanation an assumption in explanation. the line
surface reveals the motionless scenes taken from
books.

“nutritional feed.” i don’t think the poet
understands; (or perhaps she does) she doesn’t have to
hide messages, need not hussied up with old
typewritten, bold face text, tests. she ventures off,
ventures in space without….. she presents an array of
images that might work better through integration,
words crossed out don’t make it visual. If the reader
scrapes off some of the presentation within the last
section, we come upon universal
thoughts…experimentation, the need to differ and
relate.

Shin Yu attempts to orchestrate a new approach to say
what each generation needs to say, (life is not what
we thought it could be). This book is the beginning of
an aging form, the beginning of what appears to be new
and challenging. it is worth the read. check this book
out of your library and if they don’t have a copy,
then make a suggestion for them to purchase this book

irene koronas is the poetry editor of the Wilderness House Literary Review http://whlreview.com

Wednesday, September 12, 2007

Washing the Stones, Linda Larson, Ibbetson Street Press, September 2007, Reviewed by Lauren Byrne


Washing the Stones, Linda Larson, Ibbetson Street Press, September 2007, Reviewed by Lauren Byrne $10.


This collection begins in the South, where “Cypresses take on the shapes of native women/Surrounding the black water like an extended family…” and where, after hard rains, “the red clay dirt turns into gumbo.” The American South is part of the geography of Linda Larson’s past that she mines to reveal a life lived with a poet’s intensity. Even when the subject is death, her words dance with life, as in “Sweet Chariot,” recounting the funeral of a 16-year-old cousin, where:

“A canopy of roses covered the casket/like the winning colt at the Derby,” or “Catfish Catch,” where a gutted catfish reveals “in the dull gray lining” of its belly, “ruby-colored, wet roe,/a handful of bright beads.”

Before I go any further let me divulge the fact that I’m a friend of Linda’s. She’s even been kind enough to mention my name in her book. I remember the day I read some of these poems for the first time when she was putting the collection together. The short poems, in particular, seemed like gunshots of clarity—little explosions of comprehension that lit up the beauty of so much in life that we take for granted.

One of her shortest poems, “Daily Bread,” is also one of my favorites, suggesting as it does that only by its absence is the luxury of the ordinary revealed:

“How glad Isolde/Would have been/To rise at six/And put the coffee on.”

Isolde of Ireland in the Arthurian legends was betrothed to King Mark of Cornwall, who sent his nephew Tristan to escort her to his kingdom. The pair fell in love, and as doomed lovers never knew those routine times couples often don’t recognize are contented until they end. Linda’s moving long poem, “Schizophrenia with Features of Unrequited Love,” allows us a glimpse into the mental illness that has claimed stretches of her life, but which has also contributed to her heightened appreciation of the ordinary and the everyday. Her experiences have helped her shape poetry that imparts a lasting sense of what a privilege it is to simply live simply.

-- Lauren Byrne/ Ibbetson Update/ Sept 2007

Lauren Byrne is a freelancer writer living in Arlington, Mass.

Sunday, September 09, 2007

Lyn Lifshin on Jack Powers


I got this statement from the acclaimed small press poet Lyn Lifshin. http://lynlifshin.com There is a birthday party for Jack Powers Sat Sept 15 30 Gordon Street Allston 5PM Reading Potluck dinner more info: http://jackpowerspoet.blogspot.com



From the time I met Jack Powers, I think in the mid seventies when he invited me to do one of several poetry readings to go along with the Boston Marathon, I never stopped being incredibly amazed at his generosity and gentleness. I had published a handful of chapbooks and books when we first met. Before that I had heard of Stone Soup and I think on my trip to Boston to Beacon Press, just as my first anthology, TANGLED VINES, was accepted, the writer I came to Boston with tried to find Jack but we couldn’t.

But from that first meeting and reading, I’ve rarely had so considerate and generous and supportive a host. He was so kind at all the readings. I know he paid me when he did not have the money and could not afford to. There was always a feeling of vibrancy and fun and excitement reading for Jack and talking with him. There was always an idealistic feeling that anything could be accomplished with poetry. I always felt he was a leader and in the little time I spent in Boston, always saw his gracious generosity and kindness with people from all backgrounds.

Not only did he pay me for reading when he couldn’t I’m sure afford to, at my last reading in Boston Jack refused to let me pay to ship my books back. I insisted and I’m sure it was not easy for him to box and mail the books I hadn’t sold but he simply would not take my check. I think I sent it and he tore it up.

Jack is unique. He has helped so many poets, been so sensitive. In a time when poetry has become so careerist, Jack’s passion, community concern and sweetness is very special. He towers over many poets, literally and metaphorically ...

Lyn Lifshin has written more than 100 books and edited 4 anthologies of women writers. Her poems have appeared in most poetry and literary magazines in the U.S.A., and her work has been included in virtually every major anthology of recent writing by women. She has given more than 700 readings across the U.S.A. and has appeared at Dartmouth and Skidmore colleges, Cornell University, the Shakespeare Library, Whitney Museum, and Huntington Library. Lyn Lifshin has also taught poetry and prose writing for many years at universities, colleges and high schools, and has been Poet in Residence at the University of Rochester, Antioch, and Colorado Mountain College. Winner of numerous awards including the Jack Kerouac Award for her book Kiss The Skin Off, Lyn is the subject of the documentary film Lyn Lifshin: Not Made of Glass. For her absolute dedication to the small presses which first published her, and for managing to survive on her own apart from any major publishing house or academic institution, Lifshin has earned the distinction "Queen of the Small Presses." She has been praised by Robert Frost, Ken Kesey and Richard Eberhart, and Ed Sanders has seen her as "a modern Emily Dickinson."

Saturday, September 08, 2007

The republic of Lies: Poems by Ed Ochester.


The republic of Lies: Poems by Ed Ochester. (ADASTRA PRESS
16 Reservation Road, Easthampton, MA 01027 (413)527-3324, (413)549-2201 fax


Ed Ochester, 68, has had a long career as a poet and editor. He is the editor of the Pitt. Poetry Series and co-editor of the poetry journal 5A.M. Ochester, is well into the second half of the rollercoaster ride, but still has more than a bit of the rebel flowing through his veins. His poetry seems to cut through all the posturing and smoke and mirrors society throws at us, and cuts to the chase. In the poem “ Butterfly Effect” the poet takes broad swipes at the lies we all tell ourselves as we “plod along.”

“ I am thinking of all the Americans, who believe that in former lives,
they were Catherine The Great or Nefertiti ,
and all the ones who believe,
in the butterfly effect…

some jerk who farts in Albuquerque,
might trigger a typhoon in Sumatra,
though if that were true we’d have more storms then Jupiter and
the earth already would be destroyed…

all of us poor dumb fucks,
heads filled with shit
muttering to ourselves
as we plod along.”

And here is a poem that pays homage to all those “ rebels without a cause”: “Why I love Teenagers::

“In Holiday Park, PA
the Burger King
has put out a signboard advertising
for late-night employees
and some kid
contemptuous
of minimum wage
the ‘free enterprise system”
and possibly even
“In God We Trust”
has stolen the “C” from the sign
so that it reads:
“Now hiring Losers.”

Highly Recommended.

Doug Holder/ Ibbetson Update

Wednesday, September 05, 2007

JAZZ AND GOSPEL CONCERT TO BENEFIT VICTOR ROSARIO’S LEGAL DEFENSE FUND


JAZZ AND GOSPEL CONCERT TO BENEFIT
VICTOR ROSARIO’S LEGAL DEFENSE FUND





WHERE: OLD CAMBRIDGE BAPTIST CHURCH
1150 MASSACHUSETTS AVENUE
CAMBRIDGE, MA

WHEN: SATURDAY, SEPTEMBER 8, 7:30 PM
(ENTER THROUGH RED DOOR ON LEFT SIDE)

WHO: GEOFFREY DANA HICKS ON PIANO
JIMMY SMITH, LO GALLUCCIO
& OTHERS ON VOCALS
WILLIE SORDILLO ON SAXOPHONE

ADMISSION: $20.00 TO BENEFIT LEGAL DEFENSE FUND COME SWING AND ENJOY FOR A GOOD CAUSE!

Friday, August 31, 2007

Review of Drinking The Light by Laverne Frith


Review of Drinking The Light by Laverne Frith



Drinking The Light ($12.00 U.S.A.) (Finishing Line Press, P.O. Box 1626, Georgetown, Kentucky 40324) finishinglinepress.com

By Laverne Frith



Laverne Frith’s Drinking The Light is an aesthetically astute poetry book. At first glance, the reader may think the 29 page chapbook will be a religious experience, but it isn’t really that. It’s a highly crafted collection of poetry that seems to teach the reader a lot of things, especially about beautiful writing, visual art, photography, as well as nature.

Through economy of words, enjambment, and concrete imagery, Frith explains everyday situations and aesthetics with immediate insight. He teaches the reader about light’s importance in photography by writing about life and inanimate objects and the effects of light upon them. With ease and skill, Frith has the reader “Drinking The Light”, understanding photography and art and poetry in a reading experience that is visually oriented.[1]

In his opening poem, “Toward Clarity: The Power of Contrast” (p. 3) , Frith lets the reader know the speaker of the poem is interested in art.



I find the picture

much too muddled



I play it stark

strip out the middle tones



go from negative to positive

to negative to positive



over and over again



only the outlines

matter now



here I find

all the subtleties



for my attraction



Here Frith has created a beautiful, flowing piece about a “picture”, probably a photograph, that metaphorically sets the tone for the chapbook to follow. Like a photograph with a “muddled” or disordered scene, the speaker reflects that the book to follow isn’t clear in its intentions. This is similar to life’s path. The speaker seems to suggest that the following poems contain messages that are hidden, as he says, “here I find/all the subtleties//for my attraction”.

The speaker is interested in photography and the effects of light and immediately lets the reader know the journey isn’t going to be that clear, a lot of contrasts will happen, as often seen in photographs.

And, yet, the experience will probably be a smooth, flowing and speedy one, as Frith indicates through the poem’s lack of punctuation. Frith doesn’t even capitalize any of the words except the word “I” which give a focus – a focal point – to the piece and the chapbook.

Frith writes poems about light several times in the book. “In Reluctant Light” (p. 7), “In A Vase” (p. 11), and “Drinking The Light” (p. 24), the speaker tells about the dramatic effects light has on subjects and in scenes. Frith has captured with words visual images that a photographer or a painter portrays in artwork.

In “In Reluctant Light”, the speaker says, “the window sill is deep/in cobalt blue/bottles lined abreast//so many varied shapes/and densities/translucent warnings”. Frith has described this scene so articulately and with such clarity that the reader can visualize the setting as if he was viewing an actual photograph. The reader can easily imagine “the bottles filled/with dry flowers/herbs and ornamental fans” written further down the poem, as well as the “cobalt blue/bottles lined abreast” because Frith has written so concretely. He does get a bit abstract and “muddled” when he explains “so many varied shapes/and densities/translucent warnings” and about “contained regret/overlaying anxious moods/of the afternoon”. But this can be attributed to the darkening of the daylight where “a candle here and there/I only need/to strike a match”. Through words, Frith has captured the tone of light so important to understand in a photograph.

Again, light is a focal point in “In A Vase” where “of early morning/window light/mums float//lower tendrils/spread/in counterpoise”. The reader can easily imagine this quaint scene. Frith has created a beautiful poem by making the reader visualize “window light” hitting the “mums (that) float//lower tendrils/spread/in counterpoise.” This poem is written at a distance, as if we are viewing a photograph.

“Drinking The Light”, which is the title of Frith’s chapbook, is written at a distance, after Frith has viewed a photograph. The person who took the photograph remains a mystery, but the concrete imagery again plays an important part in helping the reader visualize the artwork being described. The effects of light in a dark setting are revealed. The speaker explains:



in the wee hours

on this vacant street

the storefront mannequins hold sway



their window dresses seize the stage

drinking the light

like tonic water



light that shadow-drips

from their broadbrimmed hats

obscuring the plasticity of face…



We have a sense of time, place, subject, and light so clearly and gracefully depicted through

the use of words.

In Drinking The Light, Firth has also poetry about things that live in nature. The poems “The Jay” (p. 8) and “White Arachnid” (p. 9) describe a blue jay and a white spider and a moth doing what is expected of them. In “The Jay”, Frith writes:



there are so many

blue aspects of the Jay

that are so difficult to capture







with its flitting nuances

of hunt and capture

its exercises



from break of day

through transient shadow

through bright full sun…



The speaker tells the reader of his observations about the Blue Jay’s habits, “with its flitting nuances/of hunt and capture” all day long or “from break of day/through transient shadow/through bright full sun. Frith has evoked visual imagery, like that viewed in a photograph or a painting, through economizing of words.

Frith portrays the spider in a distinctive light in his symmetrical poem “White Arachnid”, a poem which is offset in the final stanza with its single line “will not wait.” Just as spiders have the tendency to surprise their prey – and human beings, too –, the speaker “Startle(s)” the reader at the start of the poem. Frith has capitalized the word “Startle”, which is what the spider has done to the “waiting moth” who has been captured in the spider’s web spun “on the night glass”.

The moth couldn’t easily spot “the night glass” in the “ephemeris of the night” with its “incandescent light”. Frith has created a beautiful piece about the habits of the spider and “a waiting moth”, the captured prey. Frith seems to have viewed this scene often enough to realize

“Neither will rest for long/The permitting night//will not wait.” Through Frith’s simple observations, the darkness of the night is visualized in its “incandescent light”. It’s as if the reader is reading a photograph made from words.

Besides photography and nature, Frith also has published poems about visual art, as seen in “An Artist’s Self Portrait”(p. 5), “Young Girl At The Piano” (p. 14), “Mosaic” (p. 16), and

“Arrival Of The Normandy Train At The Gare Saint-Lazare” (p. 17). These poems are also about the tones of light in artwork and very good readings.

All in all, Laverne Frith’s Drinking The Light is aesthetically pleasing and a thought-inducing poetry read. If you have an interest in light and its effects in art, photography and life, you should enjoy reading this chapbook. And if you don’t necessarily want to put your thinking cap on and learn about light’s tone in various stages, you probably still will find Drinking The Light a delight to read.


Pam Rosenblatt/Ibbetson Update/Somerville, Mass. Aug 2007





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[1] Alain Briot, “Aesthetic and Photography”, http?//luminous-landscape.com/columns/aesthetics-l.shtml,

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Monday, August 27, 2007

IBBETSON STREET PRESENTS: FROM MIST TO SHADOW by Robert K. Johnson


IBBETSON STREET PRESENTS:

From Mist To Shadow: Poems by Robert K. Johnson


Fred Marchant (Director of the Poetry Center at Suffolk University) writes of Johnson’s work: “His is an art of transparency, an art in which language through its own devices becomes nearly invisible and what is seen through the scrim is usually an epiphany… The ordinary life is under the poet’s gaze transformed into something approaching the sacred…”

“From Mist To Shadow” is an apt title for Robert K. Johnson’s newest collection of poetry. The poems offer a wide range of subject matters and styles. The book’s first pages concern the poet’s early years, and the final pages his later years. In between we have meditation on family, literature, career, movies and a host of characters who have weaved in and out of the poet’s life.

Robert K. Johnson was a Professor of English at Suffolk University (Boston, Mass) for many years and is the author of six collections of poetry. His work has appeared in a wide variety of magazines, journals and newspapers. He is currently the submission editor for the Ibbetson Street Press of Somerville, Mass.






To order: send a check for $12 to:

Ibbetson Street Press
25 School St.
Somerville, Mass.
02143
dougholder@post.harvard.edu

Sunday, August 26, 2007

I HAVE MEASURED OUT MY LIFE IN COFFEE SPOONS.I HAVE MEASURED OUT MY LIFE IN COFFEE SPOONS.


I HAVE MEASURED OUT MY LIFE IN COFFEE SPOONS.

I was staring at my usual oatmeal scone at the Sherman Café in Union Square, Somerville last Sunday when I realized to some extent that : “I have measured out my life in coffee spoons,” as T.S. Eliot wrote. For as long as I can remember coffee shops have been a balm; a comforting presence in my life. My late father was a consummate New York City PR man from the 1950’s until his death several years ago. He wasn’t a coffee house sort of guy, but he did frequent the popular watering holes of the time like “P.J. Clark’s” and the “Twenty One Club.” And even in his 80’s he hopped onto the train into the city to met his old cronies from back in the day to down a few and chat. My late uncle Dave Kirschenbaum, a noted rare book dealer, and the owner of the Carnegie Bookstore on New York’s Book Row, had breakfast at the same hotel near Central Park for over 50 years. When he died they affixed a plaque to his table with his name on it.

Well, I have not frequented such illustrious places on a regular basis, but through most of my 52 years there has been a coffee shop, house, or counter in my life. When I first moved back to Boston after college in 1978 I lived in a rooming house on Newbury St in the tony Back Bay section. I used to habituate the counter at the Guild’s Drugstore which was on Boylston Street across from the Lenox Hotel. I always had a glorious hash and eggs that stuck in my stomach like an anchoring lead weight. The sight of a bright yellow yoke sun oozing over a pungent hump of corned beef hash was a simple, daily pleasure. Behind the counter was Ethel, a tough-talking, middle-aged lady from Southie who spoke with the heavily accented r “s” of a true native. She had an arsenal of stories about life in the Colonial Projects, about her ner-do-well husband, and the hijinks of an insufferable son. Both food and anecdotes were generously served to all. David Brudnoy, the WBZ talk show host and cultural critic was a regular. He was always leafing through a stack of newspapers, while he ate a rather pedestrian meal of toast and coffee. I never got up the nerve to speak to him, although he was my idea of what the urbane, man-about-town should act and look like. There was also Walter, the obese candy counter clerk, who had an impressive breakfast of a half dozen eggs, several English muffins wading in butter, and of course a pile of grease-infused hash browns. Walter was forever talking about the novel he was working on and nobody seemed to want to challenge that notion.

Later, Brueger’s Bagels and the Au Bon Pain became my morning refuge. Over a series of regular breakfast with my friend Richard Wilhelm, we birthed a literary
baby at a corner table and we named it the “Ibbetson Street Press.” Later, at the bustling Au Bon Pain in Harvard Square, poet Harris Gardner and I came up with the idea of the “Bagel Bards” a weekly writers’ group that meets at the Au Bon Pain in Central Square, Cambridge and Davis Square, Somerville throughout the year.

When I moved to Union Square some 6 years ago, I had a short-lived affair with the Grand Café. I even managed to organize a poetry reading there, and nurtured a friendship with the owners. But just like friendships- businesses are fickle and they come and go.

And now the Sherman Café has been a long commitment of mine. I mean I have gotten more than a few poems from the fertile “grounds” of the place. I am such a steady presence that the staff becomes concerned when there is a slight deviation of my pro forma order—from iced to hot coffee for instance.

But there is something about these shops. Amidst the chatter I have clarity and concentration. Amidst the din I can write. When I bite into a scone I am home. Maybe this was a reason the writer Isaac Bashevis Singer used to haunt the cafeterias in New York City.

I really don’t want to think about it. In the end I am happy to sit, and sip.

Saturday, August 25, 2007

PUSHCART NOMINATIONS 2007 Ibbetson Street 2007


PUSHCART NOMINATIONS 2007 Ibbetson Street 2007




Robert K. Johnson submission editor and myself have made our selections for the Ibbetson Street Pushcart Nominations. ( 2007) Best--Doug Holder/Ibbetson Street Press

"How To Know A Prairie Poem." Ellaraine Lockie. Issue #21.


"Morning Trek." Michael Keshigian. Issue #22.


"Passages." Linda M. Fischer. Issue #22.


"Diving" Laura Rodley Issue # 22


"Rhaposdy in Blue" Patricia L. Hamilton Issue #22


"LOWERED EXPECTATIONS IN THE LOWER 48"
Jared Smith Issue#21










The Pushcart Prize - Best of the Small Presses series, published every year since 1976, is the most honored literary project in America. Hundreds of presses and thousands of writers of short stories, poetry and essays have been represented in the pages of our annual collections.
Writers who were first noticed here include:
Raymond Carver, Tim O’Brien, Jayne Anne Phillips, Charles Baxter, Andre Dubus, Susan Minot, Mona Simpson, John Irving, Philip Lopate, Philip Levine, and many more. Each year most of the writers and many of the presses are new to the series.

Our Pushcart Prize editions are found in most libraries and bookstores. Each volume contains an index of past selections, plus lists of outstanding presses.

Thursday, August 23, 2007

“Further Fenway Fiction” edited by Adam Emerson Pachter





Further Fenway Fiction. Edited by Adam Emerson Pachter ( Rounder Books. One Rounder Way. Burlington, Ma. 01803) $17. http://www.rounderbooks.com

Fenway Park would seem to be a natural setting to center works of fiction and poetry around. The stadium is a house of melodrama, history, bipolar highs and lows, all the right stuff for writers to mine. Former Somerville resident and author Adam Emerson Pachter edited an anthology of fiction aptly titled” “Fenway Fiction,” that came out in September 2005. In 2007 a second anthology: “Further Fenway Fiction,” edited by Pachter and released by the local imprint Rounder Books has hit the street, and features poetry and fiction focusing around the old town team. And as always Somerville or Somerville - connected writers are represented on these pages. Author Timothy Gager, cofounder of The Somerville News Writers Festival, Steve Almond author of “Candy Freak,” and Festival regular, as well as long-time Somerville resident and novelist Mitch Evich, all have found homes for their work.

Now mind you, I am no longer a real baseball fan, although truth-be-told I was a rabid 1969 “Miracle Mets” freak during my freshman year of high school. But over the years the passion for the game has dissipated with the weight of more wordly concerns…well you know the drill. But I still can remember a time when a Mets’ loss could bring me to tears, or when the crack of a bat could me salivate like one of Pavlov’s dogs.

This collection brings some of that heightened awareness through humor, pathos and some right-on writing.

Tim Gager’s short satirical piece “Fantasy Camp;” appealed to the mired middle- aged man in me, as Gager sends up a group of over-the hill, never-have-beens at a baseball fantasy camp. Gager has these hapless campers practice fantasies of firing managers; has withdrawn, nerdish men trained to be bombastic,” buck-stops- here” umpires, and even has women “of a certain age” train to be baseball groupies.

In Steve Almond’s “The Tragedie of Theo” ( “Prince of the Red Sox Nation”) Almond uses Shakespeare’s ‘”Hamlet” as a conceit to capture the tortured “to be or not to be” dilemma of the young Dane, I mean… general manager of the Sox,
Theo Epstein.

Mitch Evich’s “Johnny Boy,” examines a man who had a fleeting taste of success as a ballplayer, but now in his mid 30’s he is captured in a second rate city job and the banalities of a longtime marriage.


The poetry section has works from Jonathan P. Winickoff, Bob Francis, Al Basile, and Ron Skrabacz.



Adam Pachter, the editor, has a romantic piece “Cuttyhunk” that pulls at the heartstrings. Other contributors include: Rachel Solar, Henry Garfield, Bill Nowlin, Michelle Von Euw, Cecilia Tan, Jennifer Rapaport, Steven Bergman, Sarah Green David Kruh, Tracy Miller Geary, Elizabeth Pariseau, and David Desjardins.



Whether you are a fan of baseball, fiction, poetry, or all three, there is much to recommend in this anthology.

Doug Holder/ Ibbetson Update