Showing posts with label Ryan Murphy. Show all posts
Showing posts with label Ryan Murphy. Show all posts

Sunday, April 09, 2017

our american adventure; or: what we did on our (winter/spring) vacation

I think it's safe to say we've done a ridiculous amount of travel over the past couple of years, especially with one or two small children. Do you remember when we were in Washington DC? Boca Raton? Berlin? The Netherlands? Toronto? Glengarry? Sainte-Adele? And so on, and so on. Rose has even (also) been to Calgary and Winnipeg, if you can imagine. It's hard not to feel completely spoiled. Or quite mad, really.

Recently, we spent nearly a week driving around with the girls for the sake of a final bit of adventure prior to the end of Christine's maternity leave (which isn't even the final, given we're soon off to Toronto for the sake of Christine's April 13th BookThug launch). We did the same mad trip with baby on the East Coast near the end of her prior maternity leave, as well; a trip twice as long as this one, but a bit easier to manage, given we'd only one child's schedule to consider. Really, this trip was prompted by a New Year's Eve sale at the hotel in Burlington, Vermont we'd stayed in at the end of our prior maternity leave trip, when we told ourselves: "End of March. We'll have money by then, right?" Everything else was planned around a date we'd scheduled some three months prior.

This was a purely social trip, attempting to see a couple of friends on the American side: Lea Graham, Geoffrey Young and Marthe Reed (I'll get to them in a bit). There were thoughts about working some of Christine's genealogical on this trip, but we'd neither the time for her to properly research prior to leaving, nor the opportunity to get to where we really would have had to get to (further east/south: coastal, etcetera). We shall have to figure that out for another trip, later.

We were admittedly nervous about crossing the border, with incredibly mixed feelings about even wishing to be allowed through. Is theirs a country we currently wish to support? And yet, we can't abandon those people we know and like down there. We crossed, but the uncertainties continue, to be sure.

Tuesday, March 28, 2017: Given we were heading east, past Montreal, to cross for the sake of Burlington, Vermont, we thought it might be good to begin with a quick morning trip to see my father on the homestead, en route. We'd aimed to leave the house early enough, but, of course, managed to not even get to his house until nearly noon. Despite packing the day before, we still aren't functioning well enough to go from thought to function less than a few hours with the two girls, but we'll get there.

And why did I not take any pictures at the farm? God sakes. Well, my father seemed well enough. I think he appreciated our visit. We even saw the old hired man he had for years, when I was growing up (Jack McCourt, whose daughter went to school out there with Nicholas Lea).

From the farm, we headed back on the 417 and into, through and past Montreal without stopping. We hit the hotel at Burlington, Vermont by dusk, and unpacked ourselves into a sprawl into our room. For the sake of easing Rose into sleep-mode in our single room, I took wee Aoife out for a stroll near our hotel, and saw some rather lovely lights along the cobblestone street. We picked up postcards, saw plenty of bumper stickers for Bernie, and Aoife waved at all the passersby from her ring-sling.

Christine had borrowed a tent-like sleeping unit for the baby, which Rose quickly made her own. She was very happy there.

Wednesday, March 29, 2017: Ours was a hipster hotel, where the staff were all young, wore (local) flannel, and the men wore beards. Basically, every male working there looked like Ottawa poet Chris Johnson. Once breakfast in the restaurant, we walked the two blocks to the Echo Lake Aquarium and Science Center. Once my brilliantly clever wife noticed how much admission was, she clued in to the fact that Canadian family memberships can often be transferred, so she purchased a $90 Family Membership to various Ottawa museums and science centres, which allowed us to walk into Echo for free (we would have literally paid more than half to get in, as compared to a membership that now allows us into Ottawa's Museum of Nature, Science and Technology etc for free for a full damned year).

At the butterfly room, no one mentioned that they are HUGE and they will LAND ON YOU. I cared little for this. Once they came near, I was out of there. Rose and Christine were less wary.

The space was actually pretty cool. Rose was quite happy to stick close to the children's area for most of our visit, and ran around various corners alongside dozens of other parents (most of the women there were pregnant, I noticed) with boatloads of small children.

There was a weekly children's corner reading, which Rose listened to, but bailed before they could work on their craft. She went back to a pirate ship she designated a fairy ship. By that point, Aoife was awake, and she and I spent time in the small contained area for pre-walking children. Aoife absolutely loved it, and laughed and waved at everyone and pointed and played with soft toys for quite some time [she's inches close to walking fully on her own; note the small scratch on her nose from when she was scurrying along the bed in the hotel, and slipped by the nightstand, the night prior]. I was tempted to nap, but there were too many people around to really get away with such.

Post-museum, we made back up the hill for some lunch, and so Christine could visit that Vermont Flannel shop she loves. And then we returned to the hotel (Aoife and I made a wee side-trip for the sake of the Post Office), where we crashed. Hard. Or, at least, Christine and I did. The children were (still) a bit more energetic.

On the walk back from the post office, I saw a sign that made me realize that Ethan Allen's homestead was only a six-minute drive from our hotel, but closed for the season, which was a bit disappointing. I was curious, given the connection I'd recently discovered between him and my birth mother's family (our ancestor was defeated by Allen, which prompted the move north of the border during the American Revolution). I was curious: I'd read a bit on my ancestor, which suggested that Allen was a rather unpleasant individual, but I was amused to see that the website to his own homestead museum basically says the same thing. Geez, just how bad was this guy? Didn't help, I'm sure, that one of his main associates for a time was Benedict Arnold. Jerk.

After a wee rest (and cartoons), Christine had a far better suggestion: did you know that Ben & Jerry's original factory was nearby? AND DID YOU KNOW IT HAS TOURS?!?

We drove the twenty minutes, and I was enthralled. We took the tour! We took many photos! We had ice cream! We visited the gift shop!

I mailed at least three postcards from there, that said, only: "We are at Ben & Jerry's original factory in Vermont. Jealous?"

Thursday, March 30, 2017: After breakfast, we left the hotel and aimed ourselves the four-and-a-half hours straight south from there towards Kingston, New York, where our pal Lea Graham lives. I've known Lea for more than a decade now, having been introduced to her via Dennis Cooley, and I've been able to publish a number of her pieces, including a chapbook and even a collaborative chapbook we did some ten years or so ago, but I've barely seen her in years.

Heading south along the highway, the gps directed us straight west across Lake Champlain, where we ended up at a ferry terminal before landing, half an hour later, across the shimmering water. Given the gloomy grey of our first two days, it was nice that the sun was out for such a drive through unfamiliar territory, and the girls seemed amused at the sparkly lake water.

We drove and we drove and we drove, wandering numerous windy back-roads throughout New York State once we crossed, uncertain of where the hell the gps was taking us. We drove, with full awareness that we were dealing with two children with opposing schedules: one, for nursing, and the other, for occasional (and seemingly random) bathroom stops (usually without much notice).

At one of those stops, we discovered the highway pit stops that included areas to simply drive over and use one's cellphone ("text stops"), as well as small buildings with washrooms, dozens of tourist flyers, and a handful of coin machines for food and drink. While these were all well and good, it did make me wistful for the array of On Route stops along Highway 401 in Ontario. I mean, really.

I took photos of Rose at one, during one of those bathroom stops. It was nearly half a dozen photos before she wasn't fully sticking out her tongue (and then she would laugh). She's three, after all.




Once at Lea's (see my recent Touch the Donkey interview with her here), we were barely there five minutes before poet Claire Hero [below left, listening to Lea explain something or other] arrived for a pre-arranged "poet dinner" (poet and publisher Ryan Murphy, a poet I'd published and interviewed for Touch the Donkey, had also been invited, but his schedule wouldn't allow for such, unfortunately). It was grand! Conversation and babies and only a wee bit of chaos. Also, pre-arranged, I brought a box filled with chapbooks, books and other ephemera for Claire (and one for Ryan as well), and she was kind enough to trade for a copy of her first book.

The children were a bit wound up after the long drive, but slept better than I might have thought.

We stayed up late with drinks and conversation and drinks. And conversation. [And, once home, Lea announced that she's a poetry title forthcoming with Salmon Poetry, who is also releasing a second of mine come next spring; hooray!]

Friday, March 31, 2017: The following morning was a bit hazy, which included coffee, and the children playing quietly (or not quietly, depending). There was coffee. And Lea took Rose outside, briefly (in the rain pouring buckets) to assist with the refilling of the bird-feeder (which she enjoyed).

From there, we aimed for the ninety-minute drive east, to Great Barrington, MA, for the sake of visiting poet and former The Figures publisher Geoffrey Young (see my recent interview with him here; see the recent chapbook I produced of his here). I hadn't met Young yet, but we'd been in mail and email conversation (exchanging books/chapbooks, etc) for some fifteen years at least (thanks to Ken Norris, given our shared Artie Gold interest), so I'd been looking forward to that. Still, given the prior day's drive had been a bit hard on the young ladies, we thought we should only do Gt. Barrington as a day-trip, to help reduce the potential drive for the following morning to Syracuse, New York.

The gps took us up and around and everywhere. In the pouring rain, we passed the (closed for the season) boyhood home of W.E.B. du Bois. And, a sign that could drive fear into the heart of any wayward traveller: "pavement ends" (fortunately, this did not last long). Where the hell were we going?

We made it for lunch, and found Geoffrey to have a fantastic energy, especially for someone over seventy years old. We talked non-stop (including Rose) and went through his huge house absolutely filled with the most stellar array of artworks from dozens of visual artists. There was so much to take in! And, for the sake of our ongoing exchange of above/ground press titles for The Figures backlist, he filled a box of some FIFTY TITLES for me. Absolutely incredible. I now have more Clark Coolidge titles, for example, than I ever imagined possible.

After a couple of hours there, we were back in the car towards Kingston, and Lea's house, where the evening was far quieter than our night prior.

Saturday, April 1, 2017: We slowly figured ourselves out with coffee, breakfast-for-the-kids and more coffee, and the flurry of packing without leaving anything before heading west again for Syracuse, New York, and the poet/publisher Marthe Reed. More than a couple of times we had to stop again for the sake of the children, including one of those "text stops" so Rose could use up some energy, and Aoife could nurse.

I'd originally met Marthe through the reading Stephen Brockwell and I had attempted in Louisiana, when she was kind enough to host us in Lafayette at the University. Since then, they'd moved here, where she and her partner both teach, which has allowed them to even come to Ottawa twice for the sake of a visit (including the launch of her above/ground press chapbook, After Swann, and her appearance at the ottawa small press book fair).

After the flurry of travel and adventuring, we appreciated the quieter evening, although Rose was rather wound up, and took some time to calm down. Both girls appreciated very much that Marthe pulled out some bins of toys leftover from their two children (both grown), set for some time into dusty storage. Once opened, the toys were well-utilized.

And: Aoife even teased with some small stretches of solo-walking (only her second day of such, over the week prior).

Sunday, April 2, 2017: Before heading north towards the border, we took a stroll into the graveyard across the street from their house, in part for the sake of their two dogs, and for the sake of our Rose, who happily ran around through and into the puddles. We kept having to explain that she couldn't take any of the flowers, of course.

They were such kind hosts! Such kind hosts. But oh, how we longed to be in our wee house.

The girls and I hit a Barnes and Noble before leaving town, as Christine managed a store a few doors over for a couple of items she can't get on this side of the border. I was happy to collect a recent issue of Jubilat, and Fanny Howe's The Needle's Eye (Graywolf, 2016), Claudia Rankine's The End of the Alphabet (Grove Press, 1998) and Bernadette Mayer's Works & Days (New Directions, 2016). I've long been a fan of Howe and Rankine, but really haven't read nearly enough Mayer. I'm hoping to get into these books soon.

In the bookstore, I was amused that George Saunders has his own table under the "local authors" banner (I hadn't realized he lived nearby, but everyone has to live somewhere, right?). I wanted to say something smarmy about that, given he's been on multiple major media outlets for his new book, but everything I'm hearing speaks to the attention being well-deserved. And it is good for bookstores, especially big chain ones, to be acknowledging local. And I hear that he's, on top of everything else, super-nice.

Ah, well.

A couple of hours later, we made it across the border, and I had to keep reminding myself which set of numbers on the speedometer to pay attention to. In Kingston, Christine hit an outlet mall on their FINAL DAY, and the girls and I set down for lunch at some burger place. What was it called? Harper's Burger Bar. Right. Rose coloured, and Aoife made noises at people sitting nearby. Christine met us, and then she and Rose wandered back to the outlet mall. Aoife and I found a used bookstore, and a copy of Ken Belford's The Post Electric Cave Man (Talonbooks, 1970). Shouldn't that guy have a big selected poems at some point?

Of course, we thought we'd been a bit longer in Kingston than we'd intended. Turning the gps back on in the car, it couldn't see us in the parking lot, and wasn't able to understand where we were until I pulled the car onto the street, which, of course, was in the direction opposite than where we were heading. The gps found us, and turned us right onto The Tragically Hip Way, a block-long stretch named after the infamous band.

Ah, I said, that's okay, then.

What do you mean? asked Christine.

Well, it means we're ahead by a century.



Saturday, February 11, 2017

Ryan Murphy, Millbrook




The sun buries itself

The sun buries itself
Over Staten fucking Island.

The sun a bale of copper.
The sun a Pontiac Fiero.

I don’t want to—
Or several—
Or ever—

I can’t see you
Through

Your sun veil.
Absent the everyday.

Attendant
Hair on fire.

I’ve been enjoying the clipped lyrics of American poet Ryan Murphy’s third poetry collection, Millbrook (Black Dress Press, 2017). The author of Down with the Ship (Otis Books | Seismicity Editions, 2006) and The Redcoats (Krupskaya, 2010) [see my review of such here], Murphy’s latest title is powerful and subtle, and continues his exploration of extended thoughts through short, almost staggered, lines. Named for the New York State town in which he lives, Millbrook writes less on a geography than around or even through that same geography. The poems are very much of and from the town of Millbrook, writing less a descriptive lyric than a metaphysical one, as he writes as part of the title poem:

We live no longer
In a tense.

The grass grows
A branch breaks

And the you and I
A bough.

This is not a feature film.

Over at Touch the Donkey, he spoke of the sequence that end the collection, nine numbered poems each titled “Untitled,” saying that “that they are part of a longer sequence that centers around my return to my home town in New York’s Hudson Valley after living elsewhere for the past 18 years—so in part I think they are about a kind of dislocation with a familiar landscape, and allowing those images to re-introduce themselves in to my vocabulary.” The interview continues:

A: Well, the landscape has changed, which certainly changes the language. And I think that these poems are a bit more stripped down than work I have done in the past.

Q: Is being influenced by your surroundings an element of your writing, or only one specific to this current sequence?

A: It has always had a lot of influence on my writing. My poems are almost always written about the dailiness of wherever I find myself.


Saturday, January 07, 2017

Touch the Donkey supplement: new interviews with Downs, Babineau, Murphy, Cole, Graham, eckhoff + Avasilichioaei

Anticipating the release next week of the twelfth issue of Touch the Donkey (a small poetry journal), why not check out the interviews that have appeared over the past few weeks with contributors to the eleventh issue: Buck Downs, Kemeny Babineau, Ryan Murphy, Norma Cole, Lea Graham, kevin mcpherson eckhoff and Oana Avasilichioaei.

Interviews with contributors to the first ten issues, as well, remain online, including: Meredith Quartermain, Amanda Earl, Luke Kennard, Shane Rhodes, Renée Sarojini Saklikar, Sarah Cook, François Turcot, Gregory Betts, Eric Schmaltz, Paul Zits, Laura Sims, Stephen Collis, Mary Kasimor, Billy Mavreas, damian lopes, Pete Smith, Sonnet L’Abbé, Katie L. Price, a rawlings, Suzanne Zelazo, Helen Hajnoczky, Kathryn MacLeod, Shannon Maguire, Sarah Mangold, Amish Trivedi, Lola Lemire Tostevin, Aaron Tucker, Kayla Czaga, Jason Christie, Jennifer Kronovet, Jordan Abel, Deborah Poe, Edward Smallfield, ryan fitzpatrick, Elizabeth Robinson, nathan dueck, Paige Taggart, Christine McNair, Stan Rogal, Jessica Smith, Nikki Sheppy, Kirsten Kaschock, Lise Downe, Lisa Jarnot, Chris Turnbull, Gary Barwin, Susan Briante, derek beaulieu, Megan Kaminski, Roland Prevost, Emily Ursuliak, j/j hastain, Catherine Wagner, Susanne Dyckman, Susan Holbrook, Julie Carr, David Peter Clark, Pearl Pirie, Eric Baus, Pattie McCarthy, Camille Martin and Gil McElroy.

The forthcoming twelfth issue features new writing by: Gil McElroy, Colin Smith, Nathaniel G. Moore, David Buuck, Kate Greenstreet, Kate Hargreaves, Shazia Hafiz Ramji, Erín Moure and Sarah Swan.

And of course, copies of the first eleven issues are still very much available. Why not subscribe?

We even have our own Facebook group. It’s remarkably easy.


Monday, April 26, 2010

12 or 20 questions: with Ryan Murphy


Ryan Murphy is the author of The Redcoats and Down with the Ship. He has received awards from Chelsea Magazine and The Aldrich Museum of Contemporary Art as well as a grant from The Fund for Poetry. He is an associate director of Four Way Books and teaches at Pratt Institute.

1 - How did your first book or chapbook change your life? How does your most recent work compare to your previous? How does it feel different?
I thought that my first book would change my life, but I woke up the next morning to same person, sadly.

I hope the new book is better than my first, and that I am improving as a writer.

2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?
I came to poetry first, I read plenty of fiction, but I don’t have the mindset to write like that.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
My writing comes very slowly. The generative process is the most difficult. I typically write a great deal down and when I feel as though I’ve reached a sort of critical mass, I try to put it together, which for me is the most fun. There are often many many drafts. I am certainly more of a grinder than someone with a great deal of fluency.

4 - Where does a poem usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
I try not to think in terms of “books” I think I would find that overwhelming. I have enough faith in a kind of continuity of time that will bind the poems together, but again, it generally takes several years.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
I enjoy readings when they are over. I find them overwhelmingly nerve-wracking. I also tend to think of my work as being written almost exclusively for the page, which can make readings difficult.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
Not consciously at least. I think that I am trying more than anything to get then questions themselves to emerge (that primarily of the impulse even to be writing) more that answer them.

7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?
I think that it depends upon the writer and it depends upon the reader and what they are coming to literature for.

And I wouldn’t dare speculate on what role a writer should be. It’s just too individualistic.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?
Essential. I can write some terrible shit and not know it.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
I can’t remember, and almost certainly didn’t follow it.

10 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?
I don’t keep to any sort of routine, and suffer terrible anxiety that whatever I have just written will be the last thing I ever write.

Most days are coffee cigarettes and off to work.

11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
I turn to a lot of poets, Ashbery I think is always great for loosening one’s grip, Berrigan, Oppen, Spicer, Armantrout. Visual artists, Baseball statistics, television.

12 - What do you really want?
I dare not jinx it with an answer.

13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
I think that other forms do influence my work, but I do generally think that my work as a writer is more or less generated by an over-enthusiasm for other books.

14 - What other writers or writings are important for your work, or simply your life outside of your work?
So so many. I would forget too many if I tried to list them, and just embarrass myself and feel bad later.

15 - What would you like to do that you haven't yet done?
I don’t know.

16 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?
Well I went to trade school to be a boatbuilder, so that is probably what I would have remained.

17 - What made you write, as opposed to doing something else?
Well, I was a visual arts student, though I couldn’t really draw unless I made a big enough mess and pushed things around a lot. And then obviously carpentry, which was sort of the same thing, making things fit in a certain way from raw material, and I think writing is the same way for me, fulfills those same impulses. And again, I just became an over-enthusiastic reader, which I think is what made me write.

18 - What was the last great book you read? What was the last great film?
The last good movie I saw was Hurt Locker. Last great movie, In the Mood for Love.

19 - What are you currently working on?
Absolutely nothing, terrifyingly enough.

Friday, April 09, 2010

Ryan Murphy, The Redcoats


Privateer


A stain what hearts last
Saddles a river through snow
In falling sunlight.

Eating an orange
Reminds us tomorrow is another day.

The general fog of the metropolitan
Night sky is warm orange—
And thus not alone.

Ain’t no lighthouse
In that eye’s dilated star.

A savagery sw-
Hollows me up.
The redcoats are coming, the redcoats are coming. Everyone who knows history, and even those that might not, across North America knows what these words mean, spoken by Paul Revere. “I have cannibalized other moments to invent this one,” poet Ryan Murphy writes. Moving through American history, specifically the American Revolution, is Murphy’s new poetry collection, The Redcoats (San Francisco CA: Krupskaya, 2010). In poems that call out to themselves, Murphy explores the myths and stories of American history, stripping away the topsoil of how founding stories get told, just what happened, and what it all means. Murphy engages the question, even if those questions aren’t entirely certain, twisted, and turning in on what we think we might know. Just what is he asking, moving through the complexities of history? The poems want to know, clearly, as much as we do, and struggle their clear way across chasms, as in this piece from the sequence “Poems for the American Revolution”:
Ethan Allen & the Green Mountain Boys

Is it not enough to be loved
and repulsed?

Fenway—in your ashes
build a republic.

Sebastian, not a name
one should chose for oneself. Nameless
above Ticonderoga.

Lake Champlain
into the vowel of your open mouth
the water rushes in
This is American history redux, one that doesn’t take anything at face value, even questioning the values inherent in the stories retold so many times they’ve turned myth. This is American history post-lyric, exploring the facts and the language of story, and all their inherent, and even contradictory, meanings. Poor Benedict Arnold, for example, treated so poorly he turned, and blasphemed for his grief, or Thomas Paine, as Murphy writes in “One More for Thomas Paine”: “When we lost your head / I’m sorry.” Murphy writes America the colonizer, fighting back against their British forebears for injuries, real and imagined, while the same colonizers blissfully unaware (and as often, painfully deliberate) of how they were perpetrating their own savageries, despite the resulting myths. In subjects not found, they are merely lost, as in this fifth section of the poem “All Saints,” that reads:
Vigorous and charming
the baseball hats and commemorative
coins of the bicentennial.
The rotting hulls of the last tall ships.

Daisystar, pulled by the plague
of storms and foglights,
sinking fast, amongst calls for

more rope.

I am some sad potatoes.
Which is also awful.

It is Monday, the same Monday
or another Monday come around,
and the petulant lights of the churchtop
warn off small planes

like a children’s book lighthouse.
The tensions in Murphy’s poems exist through the lightest touch, in a collection of lyrics that create poems as a rock creates skips over a lake, working to create as many touches as possible and creating more than what water means and thus makes, before slipping (inevitably) under. Murphy manages quite a pack in some of these, and the strength comes from the lightness of touch, and the simple, subtle flick of a line, and a line-break. Just as easily, some pieces exist purely as small, lovely lyrics, touching and inferring what the most of it means.

A Valentine


We emblems
flicker

in this, the gray
lilac of February.

Hearts is ash.

Warm drone
from the amber

of medicine bottles.