Friday, July 30, 2010

Book Fair --- Haverhill Public Library-- Aug 26, 2010





PARTICIPANTS




Christopher & Nancy Obert, owners of Pear Tree Publishing and authors of “The Next Harvest, Vineyards & Wineries of New England.” (Event Organizer)



Coralie Hughes Jensen, author of the novels “Passup Point,” “Lety’s Gift” & “Winter Harvest.” (Event Organizer)



Christopher Golden, nationally famous author of many comic books, plays, horror & fantasy novels, including “Wildwood Road,” Straight on Til Morning” and Buffy the Vampire Slayer novels.



Allan Hunter, author of “The Six Archetypes of Love” and “Stories We Need To Know.”



Bruce Valley, author of “Seahawk: Confessions of an Old Hockey Goalie, “Flying Frenchmen: The Story of the Berlin Maroons and the REAL Hockeytown USA” and “Rye Harbor, Poems of the New Hampshire Seacoast.”



Claire Gibeau, author of 2 novels and 8 children’s books.



Elena Dorothy Bowman, author of “The Sarah’s Landing” Series.



Jean Foley Doyle, author of “Life in Newburyport, 1900 – 1950” and “Life in Newburyport, 1950 – 1985”



K. D. Mason, author of “Ice Harbor” and “Changing Tides.”



Lucinda Marcoux, author of “King of the Forest.”



Nate Kenyon, author of many horror books and short stories including “Prime” and “The Bone Factory.”



Tracy Carbone, short story author with stories in the “Traps” anthology and many other publications.



Scott Goudsward, author of horror novel “Trailer Trash,” editor of “Traps” and author of the non-fiction horror guidebook “Shadows over New England.”



Paul Stone, author of “Or So It Seems” and “How to Train a Rock.”



Monique & Alexa Peters, authors and illustrators of “Cooper and Me.”



Michael LaFosse & Richard Alexander, owners of Origamido Studio and authors of numerous books on origami.



Ashlyn Chase, author of “Strange Neighbors” and other Romantic Comedy.



Anna Soria, editor of “Voices of Haverhill” poetry by Greater Haverhill Poets.



Jeanine Malarsky, author of “Black Raspberries.”



Anne Ipsen, author of “Karen from the Mill”, a novel from the golden age of sail; as well as other novels.



Christina James, Author of “Naughty and Wicked Romance...With No Strings Attached” and other novels.



Cindy Davis, author of the novel “Voice from the Ashes.”



Dave Daniel, author of “Murder at the Baseball Hall of Fame.”



Ed Marshall, author and creator of the hand made poetry books “Sandalwood,” “Lilacs” and “Ripples.”



John Katsaros, author of the World War II memoir “Code Burgundy, the Long Escape.”



Kevin Conley, comic book illustrator for comics such as “Kid Houdini and The Silver-Dollar Misfits.”



Michael Bisceglia, author of the novel “Room 600.”



Michael Kilday, author of numerous Spiritual books.



Michaeline Della Fera, author of “Women at the Table.”



Nikki Andrews, author of “Chicken Bones” and “A Windswept Star.”



Pat Emiro, author of the memoir “Finger of God” and the poetry book “Expressions from His Heart.”



Roxanne Dent, author of supernatural Romance novels.



Doug Holder, founder and editor at Ibbetson Street Press – which publishes the best of the small press poetry.



William Bond, author of many business books.



The Greater Haverhill Poets, a group of poets and writers based in Haverhill, Massachusetts. Authors of the poetry compilation books “Pen & Brush,” “Voices of Haverhill” and “Poetic Fairy Tales.”

Thursday, July 29, 2010

Lip by Cathryn Cofell










Lip


Cathryn Cofell
www.cathryncofell.com
Abella Audio Productions
$13.00

In the early part of the 20th century poet Basil Bunting was among the first poets to drive home the point that poetry should be spoken, that like a musical score it was not intelligible until it was heard aloud. And so performance poetry began to take shape. Yet it took until the 70’s and the arrival of slam poetry for spoken word and performance poetry to really begin to find their zenith. Today, the marriage of poetry and music continues to expand into libraries, coffee houses, pubs, art galleries and sometimes spills its lyrical beauty in gardens or on street corners. Cathryn Cofell’s CD “Lip” (music by Obvious Dog) combines her love for the written word with her love for music and her talent for public speaking into a journey syncopated with words jazzed up with musical interludes.

Ms. Cofell’s list of credits runs long. In addition to “Lip,” she has published numerous books of poetry, won 40 plus awards, and was nominated not once, but twice, for a Pushcart. Her full-time gig is in the non-profit arena and this Wisconsin girl also finds time to support the Arts, as a self-proclaimed “sucker for a good cause.” While her credits also include speaking engagements and voice-over work, I have to say that this reviewer was somewhat disappointed in the delivery of the work on “Lip.” The poetry is intense, touching on women’s themes from the get-go. The first work deals with puberty, menses, coming of age, and the evolution through the phases of a woman’s moon – yet, the performance barely skims the surface of the emotional sworls and upheavals of women’s cycles of life.

With titles like “Ms. Conception” and “Covered in Hicky’s” we continue to follow Ms. Cofell’s emphasis on women’s themes, sexuality, and fertility or lack thereof. By half way through the CD I found myself humming the old tune, “I am Woman!” (hear me roar)

The musical interludes of Obvious Dog are sound enough in the beginning and the music is allowed further showcase as the CD progresses, but is never the breath of a soundtrack beneath the lyrical spoken words.

This is a CD that addresses the evolution of women; the writing and imagery is solid and I enjoyed listening to it multiple times in my car, even as I longed for a more evocative presentation of the spoken word.



*****Rene Schwiesow is a co-host of Poetry: The Art of Words in Plymouth, MA. She co-owns an online poetry forum (poemtrain.com), has been published in various anthologies including “City Lights” and is a regular at open mic’s on the greater Boston poetry circuit.

Wednesday, July 28, 2010

REVIEW OF VACATIONS ON THE BLACK STAR LINE by MICHAEL CIRELLI




REVIEW OF VACATIONS ON THE BLACK STAR LINE by MICHAEL CIRELLI

(Hanging Loose Press, 2010)


REVIEWER: Manson Solomon







Michael Cirelli’s work is Good Stuff. With an agenda.



His seriousness of purpose is made clear in the epigraph: “Why hasn’t racial anxiety, shame and hatred . . . been more a theme in poetry by Caucasian-Americans? . . . To speak in a voice equal to reality . . . will mean admitting that one is not on the sidelines of our racial realities, but actually in the tangled middle of them, in very personal ways.” (Hoagland, Tony, “Negative Capability” The American Poetry Review Mar/Apr 2003: Vol 32, No.2. )



Cirelli dives right into the “tangled middle” of hip-hop culture, complete with his own personal Brown Skin Lady (well, ladies actually, since there are no less than five poems with that title, some of whom are, not insignificantly, Middle-Eastern and South Asian rather than African-American), and proceeds to



. . . surround myself with black

people, black people that

had space jive, had cosmic

language wrapped

around their fingers,

and I homaged those words

and deconstructed that swagger . . .

as I boarded

every new rocket ship



and from that vantage point he comes at us with his authentic poetry.



So far so cool. But why is this white boy speaking poetry on behalf of blacks? Can’t they speak for themselves? Well, he isn’t – he is actually speaking for himself. The hip-hoppers and rappers are speaking for themselves in the rap and hip-hop itself – it’s their authentic voice, but it ain’t poetry. Cirelli has been called a “hip-hop” poet, and if by that it is meant that hip-hop is often the subject of his poetry, fair enough. On the other hand, if it is meant to suggest that his poems are actually hip-hop themselves, then nuh-uh: he is no more a mere hip-hopper or rapper than Wordsworth was a daffodil or a waterfall. Though he often immerses himself in the rhythms of hip-hop, and many of his poems allude directly to specific hip-hop songs, his work is way too good, too sophisticated, to be mere hip-hop lyrics.



What Cirelli does is to personally enter into the hip-hop scene and write about it from within – or as within as a white boy can get -- giving us real poetry about it rather than merely mimicking it. So, for example, imbedded amongst all the hip-hoppy, rappy, yo’s in “Yo Yeah” -- including ribald footnotes containing scores of them, and even some deleted yo’s and yeah’s -- are real gems, such as: “Yo multiple literacies / Come wrap / Your mouth around / My ear so I can listen / to the ocean in there.”



Or, as in “Tawk”:



When T-Pain . . .

. . . named his album

Rappa Ternt Sanga, he wasn’t being

Ignorant, or ignant at that, wasn’t bad

at spelling . . .

. . . but he was

accounting for the texture of the dirt

in his teef . . .

. . . This makes sense to me.



Cirelli is an interpreter, a translater, a poet with hip-hop as subject who, the better to convey his message, often employs its rhythms and language. In “I Am Hip-Hop”, he says:



I claim nothing but hip-hop

I’m the white Eminem . . .



That makes me part gangsta. You know what time is it ---



When I win the Pulitzer prize, for Realness, the Nobel

for my translation of Hip-Hop.



In the first Brown Skin Lady he becomes an “extra black white boy” who “surrounded myself with all this darkness, packed my mouth / full of Shea butter & AAVE [African-American Vernacular English] until I felt black in sheep’s clothing, / which isn’t black at all, but it comforted me to be so god damn down, / so schooled in hip-hop like hip-hop was a hall pass to blackness” only to learn “that I wasn’t nearly as black as I thought.”



And in “Birthplace”:



wanting to be their “dawg” ---

but feeling like a mailman

another Elvis





So why has he taken this path? Is it only to respond to Hoagland’s injunction, or is it also something more personal?



In “Definition” he speaks eloquently of his childhood, of eating breakfast with his sister in his family’s American dream diner, staring out/ the window/ at the orange leaves / dancing on the hard edges / of the wind, before going off to Catholic school.



And in “Ars Poetica””:



I am herringbone gold chain

hanging from the neck of a Tony Soprano

devotee with dried marinara

flaking from the hairs of his perfected goatee.

Italy laughs at this version of Italian, of us,

but I embrace it because it is something

I can call my own.



On the other hand, as he tells us in RE:DEFinition, he is ambivalent about contemporary Italian-American identity, absorbed as it has become into the general culture: “My People: noun No longer Italiano not even / Wop no longer Irish / Polack”. Or again, in the My People section of “Twice Inna Lifetime”:



. . . My cousins live in Providence

where every wanna-be-thug-gangsta

goomba hangs a lynched Jesus from his neck,

and the wardrobe of African-America

off his ass. I don’t know who’s worse off.

In Brooklyn, my friends with privilege

have the privilege of understanding

privilege. We pay off student loans

from our Adventures in Ethnography.

We read culturally relevant books

from other cultures and swathe our tongues

in hip logic . . .



(In his use of ‘logic’, Cirelli, with his Catholic school education, is surely alluding to ‘logos’, the Word, a concept with a long philosophical history embodying the idea of Truth being made manifest through language.)



In RE: RE:DEFinition we get the college-age kid rolling around the world trying on different scenes. “I could surround myself / with poems in San Francisco / where the Beats have pacemakers . . .”, ending up in “Brooklyn where hip-hop is jacked electricity and beats broken and samples stolen so hip-hop (in a way) is white like me.”



Thanks to MTV et al, and booming bass technology, hip-hop is now a persistent presence in the lives of young people; as Cirelli puts it in “Anecdote of 16 Bars”:



It was the sound of black troubadors.



The projects rose up around it and were

no longer wilderness to those who hadn’t

lived there. Teenagers across the heartland



romanticized the bravado of Bronx, wanted

a lick of the red tongue, to fit into its baggy jeans.

this is the age when the word became fresh



and it took dominion everywhere.



(Perhaps, one might add, not unlike the absorption, after huge initial resistance, of jazz and swing into the mainstream, played as it is today without a second thought by totally white bands.)



And, significantly, interwoven into all this is another powerful strand, the impact of the election of Obama.:



In 2008, the poster on my wall

has a 4-letter word and a black face,

who is not an athlete, not a rapper.

I put black on a pedestal. Pray to black

five times a day. I make black the new

white . . . (“Black President”)



-- and--



I’m afraid this new intergalactic

President of ours absolves my people

. . . like it offered us stripes, like it made us

The Voyeurs of Inequity, like it added

to our bios. (Twice Inna Lifetime”)





But what about the word “Vacation” in the title? That suggests not mere “Voyeurs of Inequity” or privileged “Adventures in Ethnography”, but a sojourn: “When I vacation / on the moon, I don’t want to look like / a tourist . . . When I look into the eyes / of the aliens, I know the pain they’ve seen.”



So are AAVE and hip-hop the inside now and are Caucasian-Americans on the outside, merely vacationing on the Black Star Line (a reference to a hip-hop album which is itself a reference to African nationalist Marcus Garvey’s shipping line)? To a young man questioning the vitality of his own domesticated culture, such a vacation offers an opportunity to engage with a vibrant new energy. Cirelli injects himself into that world, and, being a poet, sings of it – to his great credit in a voice more melodic and harmonious, and of exponentially greater sensitivity, than the music it alludes to, a voice that invites us to enter into a world.



There simply isn’t room in this review to do justice to all the many excellent poems in this collection, the delightful turns of phrase, allusions and insights, or to engage with the accompanying downloadable MP3 or the non-hip-hop-related pieces . Though eminently accessible on the first reading, like all good poetry, carefully crafted and real, it warrants reading and re-reading, as new meanings arise with each sojourn.

Tuesday, July 27, 2010

Review of EAST OF THE MOON by Ruth Kramer Baden






Review of EAST OF THE MOON by Ruth Kramer Baden, Ibbetson Street Press, 25 School Street, Somerville, MA 02143, 2010. Book design by Steve Glines (ISCSPress.com)

By Barbara Bialick

The poetry collection, East of the Moon, is at once mythic, narrative, story telling and bursting with flavor beads of some great stand-alone poems. As she takes the reader through the lifecycles of a mature woman, age 70, we see the span of a full first collection, which has obviously been writing itself in the back of her mind for a long time. It may be a first book, but not a first-time writer. The work echoes with the awful meanings behind fairy tales, the things that the original tellers didn’t dare to say but to imply. It also seems influenced by William Blake’s voices of innocence and experience.

The cover design and inside black and white ink drawings add a lot to the fairy tale theme. But the royal blue cover and its own painting quoting “Schoen ve de le vune”—you are lovely like the moon.—makes its own stamp on the collection as it literally feels like nubuck leather boots, which mimic the boots of the Cossacks and others roaring through history, using and abusing women and everyone else.

Some examples from the book:

“She was the clever one,/Hansel had always been slow./She knew they could not go back/their stepmother would break them/their father would betray them…”
(“Gretel Ever After”).

“She told the prince, If I married you/I would become a frostbitter woman/who could not hear my children/sing or cry/…Touch me and I will kill you…He ran… /She made her lonely way over roots and rocks…(to where) a rosewood piano stood/Her hands spanned octaves./She played a Bach prelude.” (“The Sleeping Princess”)

Compare this narrative style to poetry later into the life cycle—a grandmother’s poetry:
In “Consider the Trees,” she writes sheer lyric poetry: “how I have grown like the cypress/crouched on a cliff/sentinel searching/the inhospitable sea/…all that grows/…must find a way to live.” Or “Rachel’s Birthday Poem”: “You sail into your second year/wobbling and yawing in front/I in your wake/You are the music language makes,/you are the golden heart of the plum.”

Ruth Kramer Baden has been a 1950s married mother, a creator of a local chapter of the National Organization of Women, a journalist, a consultant on children for Wellesley College, and at age 50, she graduated law school! (She practiced elder law). She’s currently working on her retirement dream of becoming a poet. Give her book a try.

Monday, July 26, 2010

"Their Tranquil Lives" by Kathleen Spivack

The following is an excerpt from Kathleen Spivack's poem "Their Tranquil Lives" that won the Allen Ginsberg Poetry Award. Kathleen also won the Sow's Ear Poetry Award and has a new book out "A History of Yearning" ( Sow's Ear Poetry Review) that can be purchased at the Grolier Poetry Book Shop in Harvard Square. The prize-winning poem appears in "A History of Yearning" collection as well.





Their Tranquil Lives






***(First Prize, Allen Ginsberg Poetry Award 2010.)


"Oh lost world of Gustav Klimt,
the jeweled and doe-eyed women
swam the walls and ceilings
of pre-Holocaust Vienna’s
ornate opera. Women’s compliance
did not need to be stated,
was pink and white
and not hidden by drapes.

World War I had not yet happened.
The city was a beaker spilling over
with bits of gold applied
which one could drink
or pour into, carefully
lavish and lucky.

Outside the window apples
shone in their dappled garden.
The women had proud
names, and pregnancies.
They rose like mermaids through
their tranquil lives,
upward and passionate.
The insides of their wrists
were white and still unmarked,
smoothed with kisses:..."




– Kathleen Spivack- ( Excerpt from "A History of Yearning" )

Saturday, July 24, 2010

Dragon Well Poems by Sandy McCord



Dragon Well
Poems by
Sandy McCord
Finishing Line Press
Georgetown KY
Copyright © 2010 by Sandy McCord
Softbound, 27 pages, $12
ISBN 1-59924-582-5

Review by Zvi A. Sesling

Ever want to take a trip to China, but for any number of reasons did not...well Sandy McCord’s Dragon Well transports you there in magical ways. Her poems sparkle with
mountain dew, drips of water, the ancient and the modern, and my personal favorite in
this volume, “Xizhou Market”:

Cloud ears, poison ears,
monster free fungus,
chiles in claws and stars
of anise, sticks of cinnamon,
ginger fingers, ginseng
toes, heaps of leeks,
purple satin eggplants,
fat turbans of garlic,
garlands of corn, baby
bok choy, walnuts
and chestnuts, yams
charring in charcoal,
flat lotus babas
smoking on iron grills,
cucumbers like alligators

There is more to this poem that you will want to read, as you will all of McCord’s poetic endeavors including the real meaning of “Chang Jiang,” and the poems “Yuantong Si,” “Green Lake Morning” and all the rest.

There is also the title poem which opens the chapbook opens with “in fields of tea, a deep well/holds water thick and heavy/with age, its mouth open to rain.....and concludes with
...to leaves light with spring rain/and alive with energy released from winter/washes the tongue with a flash of fierce/green, a sweet fortune of gold.

Born in Nebraska, home of former U.S. Poet Laureate Ted Koozer and now living in Kentucky, home of many poets, including Wendell Berry, to name one, she took her trip to China in 2007 which resulted in this volume of wonderful poems, which are sensitive,
honest and worth the effort of reading, especially if you like the cross culture poetry.

Desolation Paradise by William James Austin





Desolation Paradise
by William James Austin


Desolation Paradise
by William James Austin
Koja Press, 2006, $15, 89 pages, paperback
Copyright © 2006 by William James Austin and Koja Press
ISBN-13 978-0-9773698-2-9

Review by Zvi A. Sesling


On the back of this volume of poetry it states, “It has been said that Austin continues Allen Ginsberg and Frank O’Hara where they left off, surpassing them both. That is a bit far fetched, as is some of the poetry in this book. Take these lines:

jesse, your electron
dance,
quantum on stage
the crusade of desire
to inform
itself
between
palpable thighs

I turned you off.
you turned me down.
you called me “subatomic”
laughing as you walked away
from me
on prince street
where engines collided,
skin and steel –
I watched you
fracture
day after day
under hospital florescent,
navigating swells
of nurse white—
I

witnessed your eyes
when they opened
“why are you here?”
“I love you”


Well, you get the point. This is just a part one of his more poems, not too related to Ginsberg or O’Hara, but none the less an interesting segment from both an interesting poem and book.

In the bio on the author it says, in addition to books, poems, essays, etc. that Austin “composed music and lyrics for Lou Rawls, the fusion group: Hammer, an embarrassing television sitcom and other rock and jazz beez and wannabeez.” At the time of the book
he was an Associate Professor of English and Philosphy, among other things at SUNY, Farmingdale. Reading this book, I wish I had been one of his students.

Friday, July 23, 2010

Somerville writers and musicians in Boston Sunday service.




Somerville writers & musicians in Boston Sunday service.

First Church in Boston was founded in 1630, led by Governor Winthrop. Sunday, July 25, the service will be led by Lucy Holstedt and Kirk Etherton.

“We could have done a pretty good job by ourselves,” says Etherton, “but including some of our incredibly talented fellow Somerville residents is going to make this a great event.” The theme of the service will be “Creating Peace.” Bert Stern will read poetry from his highly acclaimed Steerage (Ibbetson Street Press); Gloria Mindock will talk about her experience working with people who have experienced war.

Somerville musician/singer Yani Batteau will perform two songs, including one co-written by the multi-talented, (former) Somerville artist C.D. Collins. At the request of Kirk and Lucy, Ibbetson founder Doug Holder will be a featured guest—and bring some publications for sale after the service.

Poet Richard Hoffman (who lives in Cambridge and authored the multi-award-winning Gold Star Road) will also give a reading.

First Church Boston has been a Unitarian congregation for several decades. It’s located 66 Marlborough Street, a couple of blocks from the Public Garden and across from the French Library. “Summer services are held in the air-conditioned chapel upstairs,” says Etherton. “It only holds about 70 people, so it’s good to get there early.”

The service runs from 11:00 a.m ‘til noon, and will be broadcast on 88.9 FM, the radio station of Emerson College. The church’s website is firstchurchboston.org

Wednesday, July 21, 2010

Review of MAKER OF SHADOWS, by Joshua Coben

Review of MAKER OF SHADOWS, by Joshua Coben, Winner of the 2009 X.J. Kennedy Poetry Prize, Texas Review Press, Huntsville, Texas, 2010, $14.95

By Barbara Bialick

Joshua Coben’s new book, Maker of Shadows, is a find, a Boston find, a find of a poet. He speaks with tightly-edited elegance to the ugliness in the world, which is nonetheless presented beautifully. As the poet X.J. Kennedy himself wrote for the back of the book,
“the poems are wonderfully fresh…with a superior music going on.”

The poet, who grew up in St. Louis, Missouri, lives in Boston with his wife and three children, and teaches elementary school. He may be influenced by children, who say what they say when they say it, but this is no children’s book. although it can be called lyric and imaginative.

He quickly gets to you by page 5, if not sooner, with poems such as the “Rat Killer of Mumbai” and “The Instruments”, a funny title that implies music, in such a morbid poem. The instruments are the household things that could kill or maim you: “Who was first to fall/on the point of the pen, flay/a finger in the window fan/or trail a bathrobe sleeve/into the cooking fire…”

He also finds art in the awful music of nature and the earth: “He poured the ink/of self into the lake/but left no stain;/he was indelibly blank” (“Invisible Agent in Clear Medium”). He describes the movements of the earth in “Crust and Core” –“One plate overtakes another…and then the blows, the stifled groans begin/that send tobogganing the hilltop houses…” but concludes “Earth is merely earth and we’re the matter/moved or melted, worrying the crust.”

Some of his poems made me say “wow”, such as those about banking, tornado watches or a virus. Read them for yourself. Original topics right out of the daily news and yet well done and edited down to the bone. Even a brochure makes him reach beyond the obvious.

In “Come to the Islands”, he writes “Come before the harbors drown. Buy up/ our trinkets and our land. The oceans rise;/each island is a ship that’s going down.”

Don’t get fooled by these little line snippets. When you read each poem as a whole, as a growing, expanding metaphor, the book booms bigger and louder in both its depression and its art.

Monday, July 19, 2010

Writer Jay Atkinson: Somerville then " On the Road"



Photo by J. Juniper Friedman






Writer Jay Atkinson: Somerville then " On the Road"

By Doug Holder

I met author Jay Atkinson at the morning meeting of Somerville's Bagel Bards, amidst the happy din of revelers at ART Beat, a yearly arts festival sponsored by The Somerville Arts Council in Davis Square. Atkinson is an athletic and intense-looking man in his 50's who has written "Legends of Winter Hill ", the title referring to the Winter Hill section of Somerville once the home to Howie Winter and his nefarious Winter Hill Gang, and other assorted scoundrels, and ner-do-wells. In this book Atkinson traces the career of legendary cop Joe McCain, whose son Joe Jr. is presently on the Somerville police force. In this work there are stories about McCain's experiences with mafioso, bad cops, and ruthless killers, etc.., something the reader can sink his or her choppers into.

Atkinson's, (who is a professor of Journalism at Boston University), latest book "Paradise Road: Jack Kerouac's Lost Highway and My Search for America" concerns Kerouac's famed benzedrine-fueled cross country trips in the late 1940s and 1950s as recounted in his breakthrough Beat Generation novel "On the Road." (1957). Atkinson took his own road trip, minus the drugs, to retrace the route Kerouac took. The reader of Atkinson's account will hopefully glean insights to how things were in Kerouac's era and how they are now in America.

When I asked Atkinson if he "changed" as a result of his travels, he laughed: " I took Kerouac's route to stay the same." Atkinson explained that most men in their fifties are stuck in a routine, ( I am sorry to say that I am one of those slobs) of the day to day grind of work, and other adult responsibilities. But according to Atkinson, Kerouac, who was 25 when he made his journey was open to new experience, talked to ordinary folks in small burgs he visited, slept under the stars, not in the air-conditioned comfort of a Quality Inn. Atkinson told me that he (and the friends who accompanied him) wanted to feel the way they did when they were young--before life weighed them down with the inevitable baggage. Atkinson feels that he and his friends are no strangers to eccentricity and novel experiences, something Kerouac would look favorably at.

Atkinson quotes in "Paradise Road" his friend David Amram, (the jazz musician, who lead a band that accompanied the earliest Beat poetry jams, and musically accompanied Kerouac at his readings in New York City), who told him not to be a "Civil War Reenactor" of Kerouac's trip because that would subvert the spontaneity of the journey--something Kerouac was not about. And indeed, Atkinson brings his own unique sensibility to the table.

As for Somerville, Atkinson is a big fan. He knows many of the folks on the police force, and he told me: " I like a place where you can down a beer in a blue collar bar, and eat high-on-the-hog in some high-toned eatery in Davis Square." Atkinson has written about the "mean streets" of East Somerville and other aspects of the hardscrabble life in the "ville over the years.

Atkinson said Somerville has changed a great deal in his time. Now he feels comfortable parking his car and visiting his students who live in the " Paris of New England." But knowing Atkinson, I am sure he has his reporter's gimlet eye out looking for trouble.

Sunday, July 18, 2010

Holder hosts Jewish Bards of Boston



Holder hosts Jewish Bards of Boston

(http://www.thejewishadvocate.com/news/2010-07-16/Arts/Holder_hosts_Jewish_bards_of_Boston.html)







July 16, 2010

By Zvi A. Sesling

Special to the Advocate

Doug Holder has earned the nickname “Johnny Appleseed of Poetry” for his many years of writing, encouraging, and promoting verse in Greater Boston.

He is a Jewish poet, but while his faith infuses his work, his themes are too wide-ranging to be pigeon-holed.

On July 22, Holder hosts an evening of poetry at the Leventhal-Sidman Jewish Community Center in Newton.

You never know for sure what poems Holder will present, but he may read from works inspired by his childhood memories of New York; a 2007 visit to Israel, where he judged an international competition and conducted workshops: and the Boston Jewish scene.

Full disclosure: I must admit to a special interest in the program. Sharing the bill with Holder are five other Boston area Jewish poets: Ruth Kramer Baden, Freddie Frankel, Bert Stern, Harris Gardner and me.

I met Holder, 55, a few years ago, and we became fast friends. His Ibbetson Street Press published my first book of poetry “King of the Jungle” last March. I attend many of his weekly gatherings of poets at Breakfast with The Bagel Bards each Saturday in Davis Square at the Au Bon Pain.

Having worked at McLean for nearly 30 years, Holder developed a keen eye for detail ( he now teaches at Endicott College and Bunker Hill Community College) His poetry has been inspired by his experiences in the wards of the psychiatric hospital as well as by the various Boston neighborhoods where he lived before settling down in Somerville.

Holder likes to walk around taking notes, which he compiles in journals along with newspaper clippings. It’s all fodder for his poetry, which over the years has become more introspective and more humorous (especially about food).

Holder received a master’s degree in arts from Harvard University where he studied with such formidable figures as Ruth Wisse ( who worked with Irving Howe), James Kugel, and he wrote his thesis on food in the fiction of Henry Roth, the author of “Call it Sleep.”

In 1998, Holder and his wife, Dianne Robitaille and Richard Wilhelm started Ibbetson Street Magazine, now a national publication.

In addition to publishing poets, Holder has been busy getting himself published in Jewish publications such as Voices Israel, Harvard Mosaic, Poetica and recently in the Blue Jew Yorker as well as broader both print and online.

Although he has never written a book that was specifically Jewish themed, many of his poems dwell on his upbringing and his family.

“My mother and father were raised in the Bronx, so I always had a strong Jewish tradition,” Holder said. “My grandparents were immigrants from Russia, and my father, changed his name during The Great Depression from Horowitz.”

That change of name and the shadow cast over his family by the pogroms and the Holocaust prompted Holder to write this poem, which appears in print for the first time.



THAT STOOPED OVER NAME

My father’s name
Was once Clarence Horowitz.

Some stooped
Over, Shtetl affair.
Something in basic black
In a frock coat—

In vogue
When the daily rag
Reported that
The sewers of Europe
Had swung open,
Letting the immigrants
On the teeming New York shore.

Oh—
How we have lost
What’s clean
What’s pure.


An ungainly name—
A pale
Reminder
Of the
Pale of Settlement.

My father wanted
To dye his roots
To something
Blond and true blue
To Lawrence Holder

No one would ever suspect
That he was a Jew.

--Doug Holder



• Zvi A. Sesling is the author of “ King of the Jungle” ( Ibbetson Street)

Friday, July 16, 2010

The Somerville News Writers Festival-2010--Announces its lineup!





(McCourt will be the featured for the festival Nov. 13, 2010)




( Somerville, Mass.)
Timothy Gager and Doug Holder founders of the Somerville News Writers Festival announced the lineup yesterday for the November 13, 2010 event to be held at the Arts Armory on Highland Ave. in Somerville. Gager, the founder of the acclaimed Dire reading series as well as a well-published author in many genres, and Doug Holder the arts editor of The Somerville News, and a member of the faculty of Endicott College in Beverly, Mass. and Bunker Hill Community College in Boston, are: “Very excited about another literary extravaganza,” according to Gager. This year the Festival will feature such writers and poets as Malachy McCourt, Rusty Barnes, Michelle Hoover, Ethan Gilsdorf, Sam Cornish, David Ferry, Ethan Gilsdorf, Steve Almond, Matha Collins, and others. Holder and Gager proposed the festival to the board of The Somerville News in the summer of 2003 and since then the festival has established itself regionally and to some extent nationally. Over the years poets and writers like Robert Olen Butler, Sam Cornish, Tom Perrotta, Robert Pinsky, Robert Olen Butler, Franz Wright, Lan Samantha Chang, Nick Flynn, David Godine, Sue Miller and many others have read for the Festival. Below is the lineup of poets and writers:


Prose



MALACHY McCOURT-- As well as being the co-author of the play A Couple of Blaguards with his brother Frank, Malachy has written his own New York Times bestseller memoir, A Monk Swimming, published by Hyperion Press. His memoir, Singing My Him Song, now out in paperback is published by Harper Collins. Running Press recently published four of Malachy’s books: the history of the song Danny Boy, a history of The Claddagh Ring, Voices of Ireland, an anthology, and Malachy McCourt’s History of Ireland. Recent books, Harold Be Thy Name and Bush Lies in State, are published by Welcome Rain. In the works is I Never Drink When I’m Sober for Harper Collins. Malachy writes a column, Sez I to Myself, that appears in the Manhattan Spirit, The Westsider and Our Town in NYC. (Read his latest article).


STEVE ALMOND--Steve Almond is the author of the short story collections My Life in Heavy Metal and The Evil B.B. Chow, the novel Which Brings Me to You (with Julianna Baggott), and the non-fiction books Candyfreak and (Not That You Asked). His most recent book, Rock and Roll Will Save Your Life, which comes with a ‘Bitchin soundtrack’



RUSTY BARNES --Rusty Barnes grew up in rural northern Appalachia. He received his B.A. from Mansfield University of Pennsylvania and his M.F.A. from Emerson College. His fiction, poetry and non-fiction have appeared in over a hundred fifty journals and anthologies. After editing fiction for the Beacon Street Review (now Redivider) and Zoetrope All-Story Extra, he co-founded Night Train, a literary journal which has been featured in the Boston Globe, The New York Times, and on National Public Radio. Sunnyoutside Press published a collection of his flash fiction, Breaking it Down, in November 2007. He is a nationally recognized and oft-solicited authority on flash fiction under all its various names and permutations, and serves on writing conference faculties and panels throughout the country, including recently with Associated Writing Programs, Somerville News Writers Festival, Writers@Work, The Parlor, Grub Street Writers and their annual Muse & Marketplace conference. He taught composition, fiction writing, and literature for over ten years in New England universities such as Emerson College and Northeastern University. His stories have been translated into Finnish, French, Polish, and Russian. His collection of traditional fiction, The Ground Always Gives Way, will be published by Sunnyoutside Press in early 2011. His recently completed novel, tentatively titled “Three of a Kind,” is about northern Appalachia, family and community dynamics, sex, drugs, and not so much rock ‘n’ roll.



MICHELLE HOOVER---Michelle Hoover teaches writing at Boston University and Grub Street.

She has published fiction in Confrontation, The Massachusetts Review, Prairie Schooner, and Best New American Voices, among others. She has been a Bread Loaf Writer's Conference scholar, the Philip Roth Writer-in-Residence at Bucknell University, a MacDowell fellow, a Pushcart Prize nominee, and in 2005 the winner of the PEN/New England Discovery Award for Fiction.
She was born in Ames, Iowa, the granddaughter of four longtime farming families.





ETHAN GILSDORF--Ethan Gilsdorf is an American writer, poet, editor, critic, teacher and journalist. He was born in Dover, New Hampshire, and raised in the nearby town of Lee. He has lived in Northampton and Amherst, Massachusetts; Brattleboro, Vermont; Baton Rouge, Louisiana; Paris, France; and currently lives in Somerville, Massachusetts. He attended Oyster River High School in Durham, New Hampshire, and received his B.A. from Hampshire College and his MFA from Louisiana State University.

Gilsdorf is the author of Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms (The Lyons Press)

A regular contributor of travel, arts, food, movies, books, and pop culture stories in The New York Times, The Boston Globe, the San Francisco Chronicle and The Improper Bostonian, Gilsdorf has also written for National Geographic Traveler, Psychology Today, Fodor's travel guides, The Washington Post, the Los Angeles Times, Poets & Writers, and The Christian Science Monitor. He is a book and movie critic for The Boston Globe, and his blog "Geek Pride" is seen regularly on PsychologyToday.com. He also blogs for TheOneRing.net and Tor.com.[2]

As a poet, he is the winner of the Hobblestock Peace Poetry Competition and the Esmé Bradberry Contemporary Poets Prize, and has published poems in Poetry, The Southern Review, the North American Review and several national and international anthologies. He is co-founder of Grub Street's Young Adult Writers Program (YAWP), volunteers as a guest speaker in the Boston public schools and leads journalism, feature writing, travel writing and creative writing workshops at Grub Street, Emerson College, Media Bistro and, for younger students, in schools and community centers.




JENNIFER HAIGH-- Jennifer Haigh (born 1968) is an American novelist and short story writer.

She was born Jennifer Wasilko to a Ukrainian Catholic family in Barnesboro, a Western Pennsylvania coal town 85 miles northeast of Pittsburgh in Cambria County. She attended Dickinson College in Carlisle, Pennsylvania and earned a Master of Fine Arts degree from the Iowa Writers' Workshop in 2002. Her fiction has been published in Granta, Ploughshares, The Virginia Quarterly Review, Good Housekeeping, and many other publications.

Her debut novel Mrs. Kimble -- telling the story of a mysterious con man named Ken Kimble through the eyes of his three wives -- (2003) won the PEN/Hemingway Award for outstanding debut fiction.

Her second novel, Baker Towers (2005), depicts the rise and fall of a western Pennsylvania coal town in the years following World War II. It was a New York Times bestseller and won the 2006 PEN/L.L. Winship award for best book by a New England writer.

Her third novel, The Condition, was published by HarperCollins in July, 2008. It traces the dissolution of a proper New England family when their only daughter is diagnosed with Turner's Syndrome, a chromosomal abnormality that keeps her from going through puberty.

She now lives in the Boston area.




POETS

SAM CORNISH--Cornish, Sam (b. 1935), First Boston Poet Laureate, poet, essayist, editor of children's literature, photographer, educator, and figure in the Black Arts movement. Born into urban poverty in Baltimore, Maryland, on 22 December 1935, Samuel James Cornish was the youngest of the two sons of Herman and Sarah Cornish. From his older brother Herman he learned early the lessons of the street, which he later would incorporate into a street-tough observancy in his poetry.

Cornish served in the U.S. Army Medical Corps (1958–1960), then returned to Baltimore, where he published two poetry collections—In This Corner: Sam Cornish and Verses (1961) and People Beneath the Window (1964). While working at the Enoch Pratt Free Library, he became part of Baltimore's political and literary underground, self-publishing a sixteen-page pamphlet entitled Generations and Other Poems (1964). A subsequent edition of Generations (1966) appeared when Cornish was editing Chicory, a literary magazine by children and young adults in the Community Action Target Area of Baltimore. Lucian W. Dixon and Cornish edited a selection from the magazine entitled Chicory: Young Voices from the Black Ghetto (1969). In 1968 Cornish won the Humanities Institute of Coppin State College Poetry Prize for his “influence on the Coppin poets” and a grant from the National Endowment for the Arts. Soon poets as diverse as Maxine Kumin, Clarence Major, and Eugene Redmond would acknowledge Cornish's significance.

By 1970 Cornish was represented in the LeRoi Jones (Amiri Baraka) and Larry Neal anthology Black Fire (1968) as well as in the Clarence Major collection New Black Poetry (1969). He reconsidered his early poems of black historicized kinship, restructuring them into the Beacon Press's Generations (1971). After a brief stay in Boston, Cornish returned to Baltimore to work in secondary school and college writing programs. While there, Cornish published Sometimes (1973) with Cambridge's Pym-Randall Press. Teaching poetry in the schools led to several children's books: Your Hand in Mine (1970), Grandmother's Pictures (1974), and My Daddy's People (1976).

Returning to Boston in the mid-1970s, Cornish worked with the Educational Development Corporation and attended Goddard College in Vermont. He appeared in a host of new anthologies, from George Plimpton and Peter Ardery's American Literary Anthology (1970) and Harry Smith's Smith Poets (1971), to Ted Wilentz and Tom Weatherly's Natural Process (1972) and Arnold Adoff's One Hundred Years of Black Poetry (1972). Sam's World (1978) continued the historical and genealogical project of Generations.

Since the 1980s Cornish has divided his time between bookselling and teaching creative writing and literature at Emerson College in Boston. Songs of Jubilee: New and Selected Poems, 1969–1983 (1986) recasts earlier work into sequences of a historical and biographical nature. His autobiographical narrative, 1935: A Memoir (1990), blends poetry and prose into a montage of twentieth-century history. The poems of Folks Like Me (1993) offer political and cultural portraits of African Americans from the depression to the early 1960s. Current projects include the next volume of his autobiography, 1955, and a critical study of Langston Hughes.



DAVID FERRY--Ferry was born in Orange, New Jersey, and grew up and attended Columbia High School amid the “wild hills” of suburban Maplewood, New Jersey. His undergraduate education at Amherst College was interrupted by his service in the United States Army Air Force during World War II. He ultimately received his B.A. from Amherst in 1946. He went on to earn his Ph.D. from Harvard University, and it was during his graduate studies that he published his first poems in The Kenyon Review.

From 1952 until his retirement in 1989, Ferry taught at Wellesley College where he was, for many years, the chairman of the English Department. He now holds the title Sophie Chantal Hart Professor Emeritus of English at Wellesley. He has also taught writing at Boston University. Ferry was elected a fellow of the American Academy of Arts and Sciences in 1998, and he is a fellow of the Academy of American Poets.

In 1958 Ferry married the literary critic Anne Ferry (died 2006), who later became the first full-time woman member of the Harvard University English faculty; they had two children, Elizabeth, an anthrophologist, and Stephen, a photojournalist.Before moving to his current home in Brookline MA, Ferry lived across the Charles River in Cambridge, in the house where 19th century journalist and women's rights advocate Margaret Fuller lived before she joined the Brook Farm community.

In 2000, Ferry’s book of new and selected poems and translations, entitled Of No Country I Know, received the Lenore Marshall Prize from the Academy of American Poets and the Rebekah Johnson Bobbitt National Prize for Poetry from the Library of Congress (for the best work of poetry for the previous two years). He is the author of a critically praised verse rendering of the Mesopotamian Epic of Gilgamesh. The poet W. S. Merwin has described Ferry's work as having an "assured quiet tone" that communicates "complexities of feeling with unfailing proportion and grace."

Ferry is also a recipient of the Harold Morton Landon Translation Award.


MARTHA COLLINS--Martha Collins is the author of Blue Front, a book-length poem based on a lynching her father witnessed when he was five years old. Blue Front won an Anisfield-Wolf Book Award, and was chosen as one of "25 Books to Remember from 2006" by the New York Public Library.

Collins' chapbook Sheer (Barnwood, 2008) is her most recent publication.

She has also published four collections of poems, two books of co-translations from the Vietnamese, and an earlier chapbook of poems.

Her other awards include fellowships from the NEA, the Bunting Institute, the Ingram Merrill Foundation, and the Witter Bynner Foundation, as well as three Pushcart Prizes, the Alice Fay Di Castagnola Award, and a Lannan residency grant.

A selection of poems from Blue Front won the Laurence Goldstein Poetry Prize in 2005; other selections from the book appeared in Kenyon Review and Ploughshares.

Collins founded the Creative Writing Program at UMass-Boston, and for ten years was Pauline Delaney Professor of Creative Writing at Oberlin College. She is currently editor-at-large for FIELD magazine and one of the editors of the Oberlin College Press.

In spring 2010, she is serving as Distinguished Visiting Writer at Cornell University


DIANA DER-HOVANESSIAN--Diana Der-Hovanessian, New England born poet, was twice a Fulbright professor of American Poetry and is the author of more than 23 books of poetry and translations. She has awards from the National Endowment for the Arts, Poetry Society of America, PEN/Columbia Translation Center, National Writers Union, Armenian Writers Union, Paterson Poetry Center, Prairie Schooner, American Scholar, and the Armenian Ministry of Culture. Her poems have appeared in Agni, American Poetry Review, Ararat, CSM, Poetry, Partisan, Prairie Schooner, Nation, etc., and in anthologies such as Against Forgetting, Women on War, On Prejudice, Finding Home, Leading Contemporary Poets, Orpheus and Company, Identity Lessons, Voices of Conscience, Two Worlds Walking, etc. Among the several plays written by DDH, two (The Secret of Survival and Growing Up Armenian) were produced and in 1984 and 1985 traveled to many college campuses in the 80s telling the Armenian story with poetry and music. After 1989, The Secret of Survival with Michael Kermoyan and later with Vahan Khanzadian was performed for earthquake relief benefits. She works as a visiting poet and guest lecturer on American poetry, Armenian poetry in translation, and the literature of human rights at various universities here and abroad. She serves as president of the New England Poetry Club.

FRED MARCHANT--Fred Marchant is the author of Tipping Point, winner of the 1993 Washington Prize in poetry. His second book of poems, Full Moon Boat, came out from Graywolf Press in 2000, and House on Water, House in Air: New and Selected Poems came out from Dedalus Press, Dublin, Ireland, in 2002. He is also the co-translator (with Nguyen Ba Chung) of From a Corner of My Yard, poetry by the Vietnamese poet Tran Dang Khoa. This book was published in 2006 by the Education Publishing House and the Ho Chi Minh Museum in Ha Noi, Viet Nam.



He is a Professor of English and the Director of the Creative Writing Program, and Co-director (with Robert Dugan) of The Poetry Center at Suffolk University in Boston. A graduate of Brown University, he earned a Ph.D. from The University of Chicago’s Committee on Social Thought. He is also a longtime teaching affiliate of The William Joiner Center for the Study of War and Social Consequences at the University of Massachusetts-Boston. He has taught creative writing workshops at sites around the country, ranging from the Robert Frost Place in Franconia, NH to the Veterans Writing Group, organized by Maxine Hong Kingston, in the San Francisco Bay Area.



In 1970 Marchant became one of the first officers ever to be honorably discharged as a conscientious objector from the United States Marine Corps. Recently he has edited Another World Instead: The Early Poems of William Stafford, 1937-1947. This collection of poems, to be published by Graywolf Press in April 2008, focuses on Stafford's time as a conscientious objector in Civilian Public Service camps during World War II. Fred Marchant's new collection of his own poetry, The Looking House, was published in June 2009, also from Graywolf Press.

Thursday, July 15, 2010

Doug Holder Profiled in July 16, 2010 "The Jewish Advocate









Holder hosts Jewish bards of Boston

By Zvi A. Sesling Special to the Advocate


Doug Holder has earned the nickname “Johnny Appleseed of Poetry” for his many years of writing, encouraging and promoting verse in Greater Boston. He is a Jewish poet, but while his faith infuses his work, his themes are too wide ranging to be pigeon-holed.

Go to http://thejewishadvocate.com to access the full article.


****The Jewish Advocate

The Jewish Advocate, founded in 1902, is the oldest continually-circulated English-language Jewish newspaper in the United States.

Based in downtown Boston, in the former Boston Post daily newspaper building (which, in its cellars four stories underground, still contains the century-old pulleys-and-lifts system equipment for the publishing presses of those days) overlooking what was known in the late 1800’s and early 1900’s as “newspaper row”, The Jewish Advocate has published weekly every week since its founding over one hundred years ago. The paper is the primary Jewish newspaper for the Greater Boston and Eastern Massachusetts metropolitan area, and for much of New England, with subscribers in all 50 states and 14 foreign countries.

Go to: http://thejewishadvocate.com to access the full article.

Tuesday, July 13, 2010

Poet Laureate of Portland Maine comes to "laureate-less" Somerville, Mass.




Poet Laureate of Portland Maine comes to "laureate-less" Somerville, Mass.

Interview with Doug Holder


Poet Steve Luttrell is the newly appointed Poet/Laureate of Portland Maine. He is also the founder of the well-respected,and much lauded small press literary journal "The Cafe Review." I was glad to speak to Luttrell so I could ask him how it's been being a Laureate, and pick his brain about his fine literary journal. It is always good to have a poet laureate on my show on Somerville Community Access TV "Poet to Poet: Writer to Writer," especially when there is no official Somerville Laureate selected by the city to interview.


Doug Holder: Steve you started the Cafe Review in 1989. Most small press journals fold after a year or two. What is the secret to your success?

Steve Luttrell: I think the big part is how fortunate I have been to work to work with the people I have. It has not been a solo effort. Over the years there have been a dozen people that have worked with me. They are currently working with me, and they are poets, artists and writers. They are people who volunteer their time. We are a volunteer staff so everybody gets along well. We have our differences of opinions--there is a lot of give and take.

DH: And you have no problem in delegating authority?

ST: Oh- absolutely not. There are obviously different schools of thought. You know--one strong editor having his her own voice. But I think three or four poets, readily exchanging ideas works better. There are poets that I might not have published that people have said: " I really liked seeing that poet."

DH: Can you tell us about the interview you conducted with the poet Robert Creeley 15 years ago or so?


ST: He was at his summer residence on the Maine coast. He told me to meet me at a well-known diner "Moody's." I walked in and he said, "Could I get you a cup of tea or coffee?" I was in the presence of this man I read and admired for years and he was asking me if I'd like a cup of coffee. The point being was that he was a real down to earth--feet on the ground--type of guy. He had a lot of interest in different things. So I conducted the interview in his summer home, and put it on tape. I transcribed the tape and sent it to him. We kept going back and forth. We finally came up with a product we both liked and we published it.

DH: I am told that The Cafe Review was sort of birthed in a cafe.

ST: Well, there is a small cafe in Portland , Maine, where a bunch of us used to read poems in the backroom. This was in the mid 1980s. The owner was happy to see us because we bought stuff. That went on for a number of years. At one point someone suggested that we had a lot of great poetry being read, and said we should save some of the stuff. I started going around after our readings and gathered the poems up and put them in a little stapled 20-25 page chapbook.

In those days we were a monthly. I must of been insane to think that I could keep up with that. In 1992 we switched to a quarterly, which is a much more doable format. We started dealing with more than local poets and brought in visual artists. The Review sort of evolved on its own.

DH: I know Plougshares Magazine got its start at the Plough & Stars bar in Cambridge, Mass., Somerville's own Ibbetson Street Press got its start at a bagel shop, and many others started in coffee shops and such. What is it about these place that strikes the literary imagination and ambition?

ST: They are places people like to meet. I think historically coffee shops and bars are where many poets and writers gathered. In Paris they had salons, and coffee shop gatherings. They were places people came together and discussed ideas. I think it is a relatively old tradition. I don't think it is anything new. I think it is a place where poets feel comfortable getting together in social situations.

DH: You are the newly appointed Poet Laureate of Portland, Maine. I know Robert Pinsky, was a very active poet laureate--bringing poetry to the people so to speak. Do you have the same style?

ST: I don't know much about the man's poetry. I do agree with you that he was a real man of the people. I admire that. I am a huge fan of the new poet laureate W.S. Merwin. We will have to see what he does. I just like his work. I think he done some wonderful translations. But Pinsky was a wonderful laureate. You have to give back to the community that honors you in that way.


DH: What would you say to the City of Somerville to encourage them to appoint a poet laureate?

ST: If you are honored by a city and you return the honor it can only be a good thing. I think Mayor Curatone should consider it. The Poet Laureate positon in Portland, Maine has brought attention to the fact that there are some very creative people in the city and that the city has a rich literary history.

DH: You have been quoted that "you know what you like" when it comes to poetry. Well-- what do you like?

ST: I'm pretty eclectic. For me it is a poem that I can read a certain amount of times and still think I get something out of it. It is like a good home movie. The title of one of my poetry books is " Home Movies." I view poems that way. They are like home movies. They are tracks in the snow. I can see where I have been. I consider it a good poem if it places me back when I wrote the poem, where I was, when I "found" the poem.

DH: Did you study with any memorable poets?

ST: James Lewisohn. He lead a sad life, but he was a wonderful poet. I met him when I was 16. He introduced me to Allen Ginsberg, William Everson, etc... At the time most of my contemporaries were reading Robert Frost, etc... And I was grateful that I began with the Beats because they spoke to me where as poets like Frost---well, you really needed more life experience to really understand. Ginsberg had that great sense of street language. He was very influential for me.

DH: What can we expect in the newly released Cafe Review?

ST: Poets featured include Alice Bolstridge, Larry Dyhrberg, Bill Edmondson, David Filer, Erica Goss, Megan Grumbling, Jeff Hardin (AZ), Jeff Hardin (TN), Leonore Hildebrandt, Preston Hood, Susanna Lang, Lynn Levin, David Moreau, Renée Olander, Henry Rappaport, Marija Sanderlin, Christopher Seid, J.B. Sisson, and James K. Zimmerman-- interesting cover by photographer Fred Field, and much more.

DH: I always joke with Gloria Mindock of Somerville's Cervena Press that we are "holy fools" because we spend a lot of time publishing and make little or no money from it. Why do you do it?

ST: It feeds my spirit. It puts me in a position where I am reading and interacting with a wide variety of poets in a more direct way--much more than I normally would.

Sunday, July 11, 2010

3/03 by Chuck Wachtel




3/03 by Chuck Wachtel (Copyright© 2010 Hanging Loose Press. All rights reserved. 231 Wyckoff Street Brooklyn, New York 11217 Phone: 212-206-8465 Fax : 212-243-7499) $18.


Review by Shannon O’Connor


In Chuck Wachtel's 3/03, the protagonist, Tom, wanders the streets of New York during the first month of the American invasion of Iraq in March 2003, trying to find meaning in chaos and grasping at the questions he longs to answer. His daughter, Hettie, is the reason he wants to war to end quickly. Everyone on television, the politicians, the newscasters and the generals say the war will be over within six months. The novel feels very New York in its texture: the sights, the smells, and the energy of the city pulse through the story as Tom goes about his life. The New York angle brings to mind Grace Paley’s stories, and the humane but tragic aspect of war evokes Graham Greene’s The Quiet American.

The novel circles around Tom. He and his wife Joan are both creative writing professors. They share the care of their daughter Hettie; when she teaches, he takes Hettie and vice versa. A cast of character comes in and out of the picture: Hannie, a neighbor; Jimi, and old friend of Tom’s from high school who Tom realizes immediately that he does not like anymore; Victoria, a vocal lesbian and a mother of a child in the play Tom goes to see; Tom’s students Ayo, Clara and Nick. Tom tries to find stories in strangers he sees on the streets. He writes in his notebook what he imagines about their lives. He has not written that much since his daughter was born, because he is distracted by her, “He told people that rather than do anything else, even write, he preferred to spend his time in a rocking chair with his daughter in his lap, staring out the window and smelling her hair.” Tom wants nothing more than to protect his daughter. He will do anything for her, and in the end, he will be tested.

The style of 3/03 is very soft and unobtrusive. The reader realizes the horrible things that are about to happen to the world, and since they are based on real events, everyone who reads this knows that seven years later, there has not been an outcome. The foreboding is like a truck stuck in the sand on a beach, with the tide coming, and owners of the truck believe it will get out before the water comes. The reader knows that the end has not come, it keeps getting worse and worse, but in 3/03 the people demonstrating against the war think what they are doing counts. Time only ticks away and the war to civilians in America continues to seem unreal.

It is difficult to write about a political event which does not have an outcome in the present day. Reading this, people can remember that month, in March of 2003, when the war was starting, and everyone believed it would be over soon. People did not understand then, and do not now, what was the purpose. But looking back to the beginning, at the anger, and now apathy of what is still costing lives and money, the reader pleads, “Where did we go wrong?” There is still no answer. But the question must continually be asked.


* Shannon O'Connor is working on her MFA at Bennington College.

Wednesday, July 07, 2010

I’d Rather be a Mexican by Charles P. Ries






I’d Rather be a Mexican

Charles P. Ries

Cervena Barva Press

$7.00

http://www.literati.net/Ries/ (Poet's site)

http://www.thelostbookshelf.com/ (Order the chapbook)



Review by Samantha Milowsky



I'd Rather be a Mexican is a delightful chapbook of poems that romanticizes Mexico and its people as objects to dream and ponder about life other than the one the speaker lives as a white English speaking man. The poetry exudes painterly and vivid beauty in deceptively simple lines. Readers are transported into scenes of Mexican architecture amid everyday life of sultry peasants. The poems are pleasantly varied between earthy surreal tropes, loving and heartbreaking portraits of family, sensual objects of desire, and dark humor regarding customs such as bull fighting and praying. I’d Rather be a Mexican is a highly enjoyable and accessible book of poetry.

The first poem Just Stories sets the stage for a romantic view of Mexico and its people as objects to express longings. The women are "all beautiful" with "dresses so colorful they look like tropical birds" and the men are strapping in "tight black pants with silver adornments running down the sides of their legs..." This imagery of men and women occurs throughout the poems which create poetic repetition and reinforces a sense of place and idealized Mexican culture. The speaker asks: "How could all the happiness of the world reside in one people?" This rhetorical question hints at the speaker's dissatisfaction with his own life and romanticism of theirs. Readers will enjoy the humor and imagery that engages the senses. While on a flight, the speaker muses:

"Land has fallen away again, but I still remember the fragrance of fresh cut grass or an orange just sliced open and dripping in anticipation of my bite, but now I simply float."

""Put a pepper on his wings. Make him sneeze and watch him soar. Don't let him hide, he's a crazy boy," my new friends shout."

Just Stories prepares us for what is ahead in the chapbook: "All these words -- just piled high to heaven's ceiling -- they free us when we let them go."

The poems Los Huesos (the bones) and Birch Street delve into the speaker's psyche of family. In Los Huesos, the speaker sits at his father's and grandfather's tombstones. To honor them he brings his "father's tobacco" and his "grandfather's beer." The speaker also brings tequila and offers it to the dead. The poem is an enjoyable mix of family love and dark humor in celebrating the vices that probably did them in; after all, what is life without enjoyment?

In Birch Street the speaker's surrealist and romantic flights give way to direct and honest language about a relationship: "Her depression and my beer free our tears from the jail we carry in our hearts." The speaker implies dysfunction surrounds them in the neighborhood too: "Skinny, greased up gang bangers with pants so big they sweep the streets and girl friends in dresses so tight they burn my eyes." The poem Reading Octavio Paz is a beautiful ode to how Mexican poets have inspired the speaker. There is a sense of how deeply the speaker was impacted: "I close my eyes and see within myself a naked boy sitting beneath a vast pecan tree. From its branches hang stars. This canopy of shade becomes my universe." Perhaps the entire chapbook is a heartfelt ode to Mexico and Mexican poets.

Highly Recommended .
_______

Tuesday, July 06, 2010

Interview with Len Solo: Making An Extraordinary School : The Work of Ordinary People.




Interview with Len Solo: Making An Extraordinary School : The Work of Ordinary People.

With Doug Holder

Len Solo was the principal of the Graham & Parks School in Cambridge, Mass. from 1974 to 2001. He is a firm believer in alternative schools and innovative teaching to educate today's student. His book about his experience at the Graham & Park School is titled "Making An Extraordinary School: The Work of Ordinary People." Solo is also an accomplished poet and is currently working on a short story collection. I talked with him on my Somerville Community Access TV show " Poet to Poet: Writer to Writer."

Doug Holder: Len-- you have seen a lot of trends in education during your time as an educator. What's your opinion of the mass firing of teachers and strict accountability that is in vogue?

Len Solo: The firings are under the " No Child Left Behind Act". Schools are ranked and rated, and if in a series of years the kids don't pass, the school and the teachers can be in serious trouble. The whole staff , including the principal can be fired.

As you know from reading my book I have issues with " No Child...' I think it is the worst turn that American education has taken. If what I describe in the book is true about this special school in Cambridge than " No Child..." is not true. We empowered teachers to be the source of curriculum--the very opposite of " No Child..." The standards with the MCAT for instance are set at the state level rather than with local people.

The reason the Graham & Parks School was successful was because it gave power to the teachers. Because the teacher knows the kids--then the teacher should know the curriculum. And they have to make the curriculum accessible to the kids. That means they have got to find all kinds of ways to do this so it is interesting. Now you have standards that have been promulgated by absent people--bureaucrats--people far way.

Again--one of the reasons the school became an extraordinary school was because of empowerment. When you empower people they take it on the teaching of the kids as their own. Empowerment is the basis of Democracy. This is the opposite of what is happening with "No Child..." With "No Child..."


It’s somebody far away from you making decisions about your life as a teacher, and your life as a student, and your life as a parent of that student. It’s not yours—it is somebody else making these decisions for you. Is “No Child Left Behind” effective? I say no. We hear all the time how kids score well on the MCAT exams in Massachusetts—so you have these tests based on these standards. You don’t need standardization to have very high standards. We did in our school. I say standard testing is a closed system. If you taught writing in college 15 years ago when there was no MCAT, and if you teach now, you would see no difference in writing skills. I know this because I have spoken to college teachers.



DH: You said the mission of the Graham & Parks School was to “educate the whole child.” Can you explain?



LS: Most schools deal with the head. We try to deal with the head, heart and the body.

We are concerned with the whole child. We had a particular kind of education. It was holistic—project-based learning.The classroom wasn’t set up with chairs in rows, with kids sitting in them hardly moving. We had learning areas. We had science, reading, writing and math areas. Our learning advocates start with materials and products. So children become actively involved with their hands. We try to engage them.



We are also concerned about the social lives of kids, and their emotions. Confidence in self is closely related to learning, and for making important choices affecting one’s life. We want our children to be capable and lovable. We want them to know math, reading, science and math and the like and to like themselves and like others.



If you establish strong bonds among people. If they live, learn and work together—that is the basis for academic performance. We created a very strong community within the school. That was the basis for academic learning. We were more concerned with more than the head. We had small classes, in a small school—involving parents in meaningful ways. We really go to know the child.



DH: You were all about students making meaningful connections with adults. How did you facilitate that?



LS: A number of different ways. First—we had a whole bunch of adults in the schools, not just teachers. In any given class you would find 2 to 5 adults. You would have a teacher, an instructional aid, one or two students from local colleges, and you would have one or two parents on a daily basis to work in the classrooms.


I have a chapter in the book about how I put the kids in the community. When kids come to middle school that are beginning to leave their parents and enter the wilder world. We try to facilitate this. We try to do it in a meaningful way. Our program put kids in work situations in the community. They were working in preschools, some worked at the Harvard Crimson newspaper, some worked with seniors. We believe the starting place for learning is experience. A job teaches the student to take what is abstracted and make it come to life.





DH: What is a bad teacher?



LS: A bad teacher is someone who doesn’t know curriculum well. He or she is not accessible to kids, and doesn’t spend a lot time watching kids and learning from them. I also look to see if there is order in the classroom. I’ve seen chaos in classrooms. You can’t tolerate that. To be a really good teacher you have to work ten hours a day practically every day of the year. At our school we were not afraid to tell teachers they were not working out.



DH : You lead poetry workshops in the schools. How was that?



LS: In the early years of school I taught 7th and 8th graders. I really like poetry and I really like short stories. I tried to present stories and poems that kids could relate to. I wanted them to dig it and relate it to their own lives.

Monday, July 05, 2010

Live Landscape by Andrey Gritsman




Live Landscape
by Andrey Gritsman
Cervena Barva Press
West Somerville MA
Copyright © 2010 by Andrey Gritsman
ISBN: 978-0-9844732-1-2
Softbound, 73 pages, $15

Review by Zvi A. Sesling

If there were an organization called Poets Without Borders Andrey Gritsman would probably be it president. Gritsman, born and raised in Russia, has been in the U.S. nearly thirty years and is a physician in New York City. He writes in at least three styles I can
discern, sometimes like the Russian he is, sometimes like surrealist Eastern European poets, and other times in the tradition of American poets, mixing in medical terms here and there. No matter the style, each poem is wholly believable.

The first part of the book draws on Gritsman’s Russian life – first love, school, his father,
Moscow and his return to his native land and ends with his first job in America with a poem entitled VA, which stands for the VA Medical Center. The two sections are eclectic
mixing subjects and picking on a number of American topics.

Gritsman also takes a simple subject like a Hot Dog Poem and turn it into a sexy, humorous poem, witness these lines:

A hot dog poem.
Directed and glistening
in its phallic infallibility
on the backdrop of common fallacy.
Not flaccid, but resilient
with mustard and relish over it,
ketchup on the side,
with the authority of a hot club
smacked between the labia of the bun
by the yellow claw fingers
of the hot-dog man.

Later in the poem he writes about a woman with two adorable little dogs
Rigor and Mortis.

Gritsman’s take on a funeral is one that makes you hope your own is not like his vision.
His New Jersey Gothic and New Jersey Grill, Smoking Area remind everyone who doesn’t live in that state why they make fun of it.

Although there are a few lines that might put off some people, overall this is a volume of poetry not only worth reading, but owning. Gritsman’s landscape is live and breathing, spitting out the raw (Holiday Inn) chomping on sex, infidelity and race (Story) while Bed,
Bath and Beyond is a bittersweet ending to a complex book.

A final note: I always favor poetry books which leave you thinking, which make you want to go back to them, which drill a hole in the stomach and make you wish you had written some of them. Andrey Gritsman has done that with Live Landscape.

Thursday, July 01, 2010

Ballad Of The Republicans By Paul Steven Stone




In the Somerville News:



Lyrical Somerville edited by Doug Holder


Paul Steven Stone is a local writer, and he wrote these lyrics to a new song "Ballad of the Republicans." Stone is the Creative Director for W.B. Mason and a member of Somerville's Bagel Bards. To have your work considered for the Lyrical send it to Doug Holder 25 School St. Somerville, Mass. 02143 dougholder@post.harvard.edu



Ballad Of The Republicans

By Paul Steven Stone



Hear the bombs bursting all through the night

Bush is bombing Baghdad, says he has the right

Thousands will die like many thousands before

Only problem is they'll never know what for...!

Here comes the ballad of the Republicans

Where men like Lincoln once took a stand

But now they took all that they could

Pretending it was for our good

In eight long years they nearly brought this country down!



The stealing starts on election night

Bush flies to victory on a Florida flight

Though exit polls say in fact he lost to Gore

Supremes give him the crown and so much more...!

Here comes the ballad of the Republicans

Eight years of plunder down in Washington

And now they hope that you'll forget

All the blunders, crimes and debt...

That for eight long years nearly brought this country down!



The CIA says Bin Laden will strike

But Bush is out that day riding his bike

Not till 9/11 does he figure out the score

Sees thousands lying dead, Twin Towers no more...!

Here comes the ballad of the Republicans

Rumsfeld, Rice and Cheney take a stand

Take us to Iraq thru Afghanistan

And can't take our asses out again

In eight long years they nearly brought this country down!



Did you see the scowl on Dick Cheney's face

When someone said torture is a human disgrace

That's no longer torture, he tells Fox news

Those Amnesty wimps are just singing the blues...!

Here comes the ballad of the Republicans

They read our mail and tapped our phones

Said they could send anyone to jail

Then erased all White House email...

That showed eight long years of bringing this country down!



They never find any W.M.D.'s

They even search Abu Ghraib detainees

Turns out Saddam had run out of gas

And we're just bullies kicking his sorry ass...!

Here comes the ballad of the Republicans

Acting like the ugliest Americans

Paul Wolfowitz lusting at The Bank

Larry Craig tapping at toilet tanks

In eight long years they nearly brought this country down!



By now the middle class is feeling poor

Can't afford college or doctors anymore

Wages shrink but the rich keep getting fat

They even try to take social security back...!

Here comes the ballad of the Republicans

They told us lies, rewarded their friends

Like Halliburton, Goldman Sachs and more

Then sent ill-equipped soldiers off to war

In eight long years they nearly brought this country down!



Back in New Orleans the wind starts to howl,

Water is a-rising, Brownie's on the prowl,

Bush is on a plane heading west for the coast

Flies over the waters just to see if blacks can float...!

Here comes the ballad of the Republicans

They ran our country like a Christian scam

Tried to keep Terry Schiavo undead

Pulled the plug on stem cell research instead

For eight long years they nearly brought this country down!



Where are you when Wall Street gets the bends?

They're in the vault handing billions to their friends

Some of those billions simply disappear

The rest go to bonuses for needy millionaires

Here comes the ballad of the Republicans

The ones who told us not to lie or sin

And then were caught with pants askew

Ensign, Foley, Vitter to name a few who...

In eight long years nearly brought this country down!

Then there's forgetful Alberto Gonzales

In all of Bush's gang none needs more solace

'Cept Harriet Miers in her Supreme Court mess

Or Scooter Libby lying for his V.P.-ness

Here comes the ballad of the Republicans

Said global warming would improve our tans

Their senior drug plan was so nice

'Cept they made the U.S. pay list price

In eight long years they nearly brought this country down!



Their biggest crime isn't Katrina or Iraq

Or turning U.S. Attorneys into G.O.P. hacks

Or leaving Afghanistan with the enemy still intact

It's torturing the truth till they break its damn back...!

Here comes the ballad of the Republicans

Eight years of plunder down in Washington

They turned our surplus into debts

Gave shoddy care to wounded vets...

In eight long years they nearly brought this country down!



Now look at this mess the Bush gang leaves behind

Two wars in limbo, Wall Street flying blind

An economy gasping, the states in default

Obama tries to clean up and they claim it's all his fault...!

Here comes the ballad of the Republicans

They pray that you can just forgive their sins

And vote them back in power again

Forgetting all the lies, the graft and pain...

That for eight long years...eight god-forsaken years...nearly brought this country down!

Wednesday, June 30, 2010

LOVE-ZERO by A.D. Winans




LOVE-ZERO by A.D. Winans (Cross- Cultural Communications Merrick, NY 2010 www.cross-culturalcommunications.com) $10. 2010.

Review by Doug Holder

I have read many collections by the veteran poet A.D. Winans over the years. His latest Love-Zero, is a change—at least for me. It is an extended love poem; a mixture of the leather hide tough guy and the lovelorn romantic.

The collection boasts beautiful Picasso-like artwork from Norman J. Olson and a foreword from Neeli Cherkovski.

Winans writes of his fleeting romance with a much younger woman as if it was an amorous boxing match:

“… Thursday night
in chilly San Francisco
you play me like a violin
you got me on the ropes baby
those eyes those eyes the
look of a boxer
a micro-second before the
the knock-out.”

Winans is not afraid to express his vulnerability—-a touching concession to the siren call of love:

“ I wanted to hold your hand
touch your heart
but unsure of your reaction
I held back
later watching you drive away
lying alone in bed
hoping sleep came as hard for you
as it did for me.”

Like all flames they burn, flicker and then die. Winans uses Jack the Ripper and the hands of the nefarious gangster Dillinger to make his pain visible:

“ you became the knife in the
hands of Jack the Ripper
in a heavy fog in a back alley
in old London-town slicing
dicing your way through the
canvas of my heart
the pearl-handled revolver
in the hands of Dillinger
that begged to be fired…”

This is a beautifully produced book, with poetry that is worthy of its covers.

Highly Recommended.

Doug Holder/Ibbetson Update