tag:blogger.com,1999:blog-55269992024-03-18T12:30:30.536-04:00rob mclennan's blogrob mclennan's blogrob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.comBlogger6154125tag:blogger.com,1999:blog-5526999.post-52350822834920809302024-03-18T08:31:00.020-04:002024-03-18T08:31:00.137-04:00Nate Logan, Wrong Horse<p> <!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">At the end of a tough
week, I treat myself to some curbside steak, broccoli, and brick of bread. I wait
for the bill and see right into the restaurant. A hostess rolls her eyes so far
in her head, I feel a little sick. Some child uses a red crayon with disturbing
flourish. A slice of cheesecake is put in front of an elderly couple. I’m the
only person in the designated to-go parking area. The wind nudges the car with
a sock foot. (“Parking Lot”)<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8lNhDnZRpYKVpCOGUEt-om-AKWAB32c5nL5ca-QLRWpo21N3LG19MJUtHmOCL3gTwaMAk53dp8J9QMSvKgATD4lxzZoTC5FvluyPaua1awnidCW2DgB9BjF9W6v_oYzygen1y1l-KYdqrVT30-NNsgz-BFm7W2dffpxY0zgjmqmfdhfpBV1DOw/s833/tumblr_18f41f081eb8b08956b2fb455d56efe5_e3c43d12_640.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="542" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8lNhDnZRpYKVpCOGUEt-om-AKWAB32c5nL5ca-QLRWpo21N3LG19MJUtHmOCL3gTwaMAk53dp8J9QMSvKgATD4lxzZoTC5FvluyPaua1awnidCW2DgB9BjF9W6v_oYzygen1y1l-KYdqrVT30-NNsgz-BFm7W2dffpxY0zgjmqmfdhfpBV1DOw/w308-h474/tumblr_18f41f081eb8b08956b2fb455d56efe5_e3c43d12_640.png" width="308" /></a></div>The
second full-length collection by <a href="https://nateglogan.tumblr.com/" target="_blank">Wisconsin prose poet and editor Nate Logan</a>, following
<a href="https://nateglogan.tumblr.com/insidethegoldendays" target="_blank"><i>Inside the Golden Days of Missing You</i></a> (Magic Helicopter Press, 2019), as
well as a small array of chapbooks (<a href="http://abovegroundpress.blogspot.com/2022/01/new-from-aboveground-press-apricot-by.html" target="_blank">including one by above/ground press</a>), is <i><a href="https://www.lulu.com/shop/nate-logan/wrong-horse/paperback/product-yvved6q.html?page=1&pageSize=4" target="_blank">Wrong Horse</a></i> (Chicago IL: Moira Books, 2024). I’ve been following for a while the
curious trajectory of the American prose poem, one that appears to have been furthered
quite prominently by <a href="https://www.poetryfoundation.org/poets/russell-edson" target="_blank">the late Russell Edson</a> [<a href="https://robmclennan.blogspot.com/2023/04/little-mr-prose-poem-selected-poems-of.html" target="_blank">see my review of his posthumous selected poems here</a>], a form that leans rather hard into what others might
suggest as a very short or postcard story. There seem a handful of poets
following that particular influence: <a href="http://www.sarahmanguso.com/siste-viator-1" target="_blank">Sarah Manguso’s early work</a>, for example,
or that of <a href="https://www.tallmansgarden.com/" target="_blank">Evan Williams</a>, <a href="http://www.elisagabbert.com/" target="_blank">Elisa Gabbert</a> or <a href="http://www.neonpajamas.com/" target="_blank">Benjamin Niespodziany</a>. Logan’s narrative
prose poems, through <i>Wrong Horse</i>, might share certain elements of all of
the above, but not necessarily the surrealist and cinematic elements of
Niespodziany, or the theatrical gestures and impulse of Gabbert, yet the same elements
of scene-composition remain. Logan’s approach, instead, offers a curious and
even kinetic push against endings, refusing to provide those easy or expected
landings. Logan’s poems offer a calm, almost unsettling sense of quiet, writing
something slightly off in the narrative, unsettling the very foundation of the narrative;
not in a surrealistic way, but something else, other. There is such a fantastic
subtlety to the way Logan approaches each prose-block, each poem, a quietude
that might allow inattentive readers to not fully appreciate just what it is
his work provides. His poems put all those narrative parts into play, into
motion, but stops just short of the implications, allowing the reader to fill
in the rest. “To spend the equinox in a hammock,” he writes, to close the poem “The
Home Stretch,” “wasting my life. Or not breaking the backs of mothers walking a
Weimaraner. And there’s the mannequin again with an egg in its mouth.” <a href="https://periodicityjournal.blogspot.com/2023/08/nate-logan-further-short-takes-on-prose.html" target="_blank">As Logan
wrote as part of a statement on prose poems last fall, for <i>periodicities: a
journal of poetry and poetics</i></a>:<p></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">There are frequent stops
when traveling by prose poem; for me, this is one of its unique charms, maybe
thee charm that keeps me coming back. Unlike another poem that can move between
a line that spans across the page and a zig-zag all within the same piece, I
know, and the reader knows, the prose poem will start and stop, then start and
stop again. Being invited to sit with sentences, <i>poetic</i> sentences in no
particular hurry, is a pleasure. Furthermore, the tendency for the prose poem
to wind around surrealism (neosurrealism?) is a nudge to the reader to stay
with sentences longer—the associative leaps lend themselves to contemplation
(this is a whole other essay). The “radicalness” of the prose poem still lies
in its form, but the beat has changed. And when the poem does end, either at
one paragraph or a few pages, if it goes especially well, the accumulation of
sentences stirs a reader, which is what all good poetry should do (even still,
Charlie, I didn’t mean to make your mom cry).</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-79960994929329389212024-03-17T08:31:00.046-04:002024-03-17T08:31:00.139-04:0012 or 20 (second series) questions with Katie Berta<p><b><span lang="EN-US"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2NGeqjXAqfV6V1hmbirDGB4tEIJKL_H1o5y9rObSRYrHXKyTft447F8qkGNGd4dSqft_8XWJSwxvmgFwwSAOhDEAzTR2XQWCbmu_ay3lvft96E79QZI8cVht6xLZ6nQWKNyTSlwGu-sCXzfjQV4iV6UwGGrc05e03Qvz1vfitCabeJErQSX-smA/s1200/untitled+(1+of+1)-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="821" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2NGeqjXAqfV6V1hmbirDGB4tEIJKL_H1o5y9rObSRYrHXKyTft447F8qkGNGd4dSqft_8XWJSwxvmgFwwSAOhDEAzTR2XQWCbmu_ay3lvft96E79QZI8cVht6xLZ6nQWKNyTSlwGu-sCXzfjQV4iV6UwGGrc05e03Qvz1vfitCabeJErQSX-smA/w342-h500/untitled+(1+of+1)-2.jpg" width="342" /></a></b></div><b><a href="https://www.katieberta.com/" target="_blank">Katie Berta’s</a></b><span lang="EN-US"> debut poetry collection, <i><a href="https://www.ohioswallow.com/9780821411506/retribution-forthcoming/" target="_blank">retribution forthcoming</a></i>, won the
Hollis Summers Prize and was published by Ohio University Press. Her poems have
appeared or are forthcoming in <i>Ploughshares</i>, <i>The Cincinnati Review</i>,
<i>The Kenyon Review</i>, <i>Prairie Schooner</i>, <i>Denver Quarterly</i>, <i>The
Yale Review</i>, <i>The Massachusetts Review</i>, and <i>Bennington Review</i>,
among other magazines. She has received residencies from Millay Arts, Ragdale,
and The Hambidge Center, fellowships from the Vermont Studio Center and the
Virginia G. Piper Center for Creative Writing, and an Iowa Review Award. She is
the managing editor of <i><a href="https://iowareview.org/" target="_blank">The Iowa Review</a> </i>and teaches literary editing and
poetry at the University of Iowa and Arizona State University.</span><p></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;"></span></span></b></p><blockquote><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;"></span></span></b><blockquote><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">How did
your first book change your life? How does your most recent work compare to
your previous? How does it feel different?</span></b></blockquote><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"></span></b></blockquote><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"></span></b><p></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Writing</span></i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"> this book changed my life, I think. Or my life
changed as I wrote this book. When the earliest poems in the book were written,
I was exiting a period of my life that was dense with gendered trauma that I
wasn’t able to describe or investigate—in my writing or with my loved ones. By
the time I finished the book, those experiences became less charged and more
articulable. I’m not sure whether that happened because of the act of writing
or whether those traumatic experiences just aged out of their charge. Either
way, this book was there as my life changed. People who know the undergraduate
writer I was or the MFA student I was or even the early PhD student I was might
say the work in this book isn’t trying to gesture at experiences, to suggest
things, as maybe I did previously. Instead the book clearly describes. I think
that’s a change—a habitual gesture of new poets is to always find ways of
saying without saying. This book taught me (or told me) not to do that anymore.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">How did
you come to poetry first, as opposed to, say, fiction or non-fiction?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">As a kid, I was actually much more interested in
fiction—it’s what I read and could imitate—but it quickly became clear that I
was never going to finish anything that required any real follow through. I
wrote a lot at school when I was supposed to be paying attention, and that
doesn’t leave a lot of time for completing longer work. I’m not sure what my
first encounters with poetry were, but I started writing it in middle school. I
kept trying to write short stories into my first years of college, but
completed them the way I completed other assignments—they were all last minute
and half-assed. And it just never stuck like poetry did—I could write and
complete poem after poem and fix them up later. That way of working was just
more suited to the type of writer I am.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I think, usually, when a project is beginning, I don’t
realize it’s a project at all. I’m just thinking, “Well, this is a new kind of
poem!” And the newness piques your interest a little, so you try to do
something similar in the next poem and the next and on and on. And that becomes
a project—or something like a project. Usually, in that stage of my writing
process, I’m excited and poems are easy to produce. They might be the jankiest
versions of the new work you’ll do, but they’re the most excited to you, so
they’re quick. And those poems might need a lot of work later, but the poems
that come after them, once you’ve learned whatever new mode you’re working in,
need a little less.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I’m never really thinking about a book when I write a poem.
I’m writing single poems that hopefully will connect to each other thematically
or by their voice and sound. I recently described the process of writing a
poetry book as making and then collecting—you create and then curate your own
work, which means you have to treat it like you’re an editor looking in from
outside, deciding what’s good enough and what goes well enough with what you
already know you want. I’ve had to write many more poems than can fit in a
poetry book so that I have choices between them, so I can make a book that
feels cohesive and sturdy, as a piece of art.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Are
public readings part of or counter to your creative process? Are you the sort
of writer who enjoys doing readings?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I love readings because they’re one of the only situations
when writers witness the unvarnished reactions of their audience. I’m greedy
for feedback, so I read poems that I expect will make the audience laugh or
otherwise express themselves. I wouldn’t call this a part of my creative
process, per se, but it <i>is</i> something that keeps me going, that inspires
me and makes me feel I’m a part of a community.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">It feels like a lot of writers are asking why we write at
all, in the face of the serious global concerns we all feel too puny to change.
Does it matter whether you write the great American novel if our way of life is
obliviated by climate change? If entire civilian populations are being obliviated
by war? Writing as an art and a profession is having to deal with the ways it’s
obsolete culturally (Americans read an average of 12 books per year and many
read none at all) and obsolete functionally (can books be used to affect a
cultural or political climate that requires massive corporate interests to
funnel money toward or away from any cause or value-system or politician in
order for that cause or value system to succeed or fail?)—is it callous to keep
writing your little poems knowing they’re not <i>for</i> anything? Of course we
can’t help it—humans are built to make stuff. And poets were more likely than
money-making writers, I think, to know that their art doesn’t have to be <i>for</i>
anything and to already have bemoaned their lack of impact, but I know I’m not
immune from asking why, crying over it, and trying to address <i>something</i>
in the art I make. Usually those <i>somethings</i> are the concerns I brush up
against in my own life (I always think of the title of a poem by a friend, <a href="https://www.finishinglinepress.com/product/atom-city-by-sara-sams/" target="_blank">Sara Sams: “But Think, Are You Authorized to Tell It?”</a> she asks). It often depends
on the identity and the perspective of the <i>reader</i>, though, whether those
concerns are considered political and theoretical rather than interior,
personal, or private.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What do
you see the current role of the writer being in larger culture? Do they even
have one? What do you think the role of the writer should be?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Poems are speaking to very few people, which means they can
be as frank as they want. Maybe our very small role should be to speak very loudly,
and in an annoying voice? I think of <a href="https://yalereview.org/article/patronage" target="_blank">Solmaz Sharif’s amazing poem “Patronage”</a>
all the time, in which she critiques the system by which poets have to build
careers (and depend, largely, on universities for support) and the ways it
limits what we think we can say: “They [poets] step/in as one steps in/to a
nursery and//quiet//calms the tantrum/attempts not to wake/the sleeping, the
milkdrunk//and burped babe.” Of course, Sharif is a writer who is a great counterexample
for that ultra-quiet, apolitical poet she describes.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Do you find
the process of working with an outside editor difficult or essential (or both)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Are people reticent to edit poets? I don’t think I’ve had an
editor suggest large changes to my poetry. Maybe they know poets are especially
prickly and will use our genre to justify even our most unhinged choices (speaking
from my experience as a writer, <i>not</i> my experience as an editor—at <i>The
Iowa Review</i>, our contributors in all genres are universally lovely).</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What is
the best piece of advice you've heard (not necessarily given to you directly)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I was just at <a href="https://asuevents.asu.edu/event/distinguished-visiting-writers-series-ellen-bryant-voigt-and-sally-ball" target="_blank">a reading and conversation between Sally Ball and Ellen Bryant Voigt</a> and Voigt said, to revise, make the poem ugly. If it’s
ugly to you, you’ll be able to change it. I think this is a brilliant idea—and
we really do depend on our impulse to “fix” the “broken” poem to fuel our
revision efforts—but I also just liked that piece of advice on its own: “Make
the poem ugly.” Why not? There’s nothing “good” (in any innate, intellectual,
or moral way) about writing a pretty poem. We write pretty poems to show that
we know what pretty is and to show that we can <i>be</i> pretty—and because we
believe beauty gives pleasure. But I (we?) get pleasure out of ugliness too.
I’ll be working on some ugly poems this year, I think.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">How easy
has it been for you to move between genres (poetry to critical prose)? What do
you see as the appeal?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">These genres serve such different purposes for me. Lately, I’ve
been telling people that poems are a place of internal quiet in which I get to
explicate what I think and feel without the invading presence of another mind.
In conversation, I often (always?) feel myself distorting in order to serve
what I believe the other person thinks and feels. This often gets me into
trouble, as whatever I’m reflecting to them/expecting of them isn’t always (is
never?) what they meant or wanted. In the poem, I’m in conversation with myself
and am following, to me, my most authentic intellectual impulse instead of
serving anyone else. Writing critical prose, on the other hand, feels like I’m
applying my mind to someone else’s work and should, on some level, be serving <i>their</i>
work first. I like writing criticism because it gives me an occasion to think
really deeply about a book or poem—but it’s less about finding out what I think
and more about practicing a kind of attention that I love to give to writing
and art.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What
kind of writing routine do you tend to keep, or do you even have one? How does
a typical day (for you) begin?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I wouldn’t say I have a routine. Instead, I will beg,
borrow, or steal any moment during which a poem arises. And the impulse to
write a poem comes and goes. Over the last year, I wrote, maybe, the fewest
poems of my life. I work from home and I suspect I just encountered less <i>stuff</i>,
fewer things to make an image out of or to spark a bit of language. Since
January, I’ve been writing about two poems per week. They happen when they
happen—and that’s the luxury of being a poet rather than a prose writer—I scrawl
something down in the car before going into the grocery store, if needed.<b></b></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">When
your writing gets stalled, where do you turn or return for (for lack of a
better word) inspiration?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I’ve been feeling devoted to Terrance Hayes for a little
while—his new book, <a href="https://www.penguinrandomhouse.com/books/721063/so-to-speak-by-terrance-hayes/" target="_blank"><i>So to Speak</i></a>, has taught me a lot about patterning
and repetition, a lot about using pattern and <span style="mso-spacerun: yes;"> </span>repetition to make an impact on the reader
(see his </span><span lang="EN-US"><a href="https://poets.org/poem/american-sonnet-new-year"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">“American Sonnet for the New Year,”</span></a></span><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"> which
begins the book). The speed and funniness of poems like that one inspire me to
get going again when things stall out. I’ve also returned to <a href="https://www.poetryfoundation.org/poets/frank-bidart" target="_blank">Frank Bidart</a> this
year—he’s another favorite, and I’ve been reading a poem a day from his
collected since January. I think having a practice like that helps poems come a
little more easily—like priming your mind for later poetry use. Also,
walking—writing and walking are accessory activities.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What
fragrance reminds you of home?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">The smell of rain in Arizona reminds me of my childhood in
southern California.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I really am a one-form girl, and mostly books made my book,
but I also think my book came from the people—and the animals—that live
alongside me. I also didn’t think I was engaged with the natural world, but
since coming back to Arizona, I’ve been lucky enough to experience awe in the
face of natural things. I think books come from that feeling too. </span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What
other writers or writings are important for your work, or simply your life
outside of your work?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I always come back to <a href="https://www.poetryfoundation.org/poets/anne-carson" target="_blank">Anne Carson</a>, who I was introduced to
as an undergrad and who I still love to think and write about now. <a href="https://www.poetryfoundation.org/poets/sylvia-plath" target="_blank">Sylvia Plath</a>
was an early influence who is always popping up in my poetry. As I said above,
<a href="https://www.poetryfoundation.org/poets/terrance-hayes" target="_blank">Terrance Hayes</a> is really important to my ideas about how poems work, why they
work. <i><a href="https://www.omnidawn.com/product/ghost-ofdiana-khoi-nguyen/" target="_blank">Ghost Of</a></i> is also a book that influenced me really deeply (I don’t
say <a href="https://dianakhoinguyen.com/" target="_blank">Diana Khoi Nguyen</a> because I haven’t read her new book yet)—her ability to
create a voice that exhibits to the reader/generates in the reader a certain emotional
mode. <a href="http://tommy-pico.com/" target="_blank">Tommy Pico</a>, <a href="http://www.rachelzucker.net/" target="_blank">Rachel Zucker</a>, <a href="https://www.poetryfoundation.org/poets/bernadette-mayer" target="_blank">Bernadette Mayer</a>, <a href="http://www.morgan-parker.com/" target="_blank">Morgan Parker</a> are all swimming
around in the same brain pool, for me. <a href="https://www.poetryfoundation.org/poets/mary-ruefle" target="_blank">Mary Ruefle</a>, <a href="https://www.wavepoetry.com/products/chelsey-minnis" target="_blank">Chelsey Minnis</a>, <a href="https://www.poetryfoundation.org/poets/jay-hopler" target="_blank">Jay Hopler</a>,
on and on…</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What
would you like to do that you haven't yet done?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Everything, it still feels like! Invite me anywhere! I’ll
be happy to get out of the house!</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I think I’d be a lawyer or in some other wordy job. Getting
a JD and using it in the much more urgent ways one can use a law degree (vs. an
MFA, which feels very useless at the end of the world) still sometimes seems
attractive to me.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What
made you write, as opposed to doing something else?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Really, there was nothing else. I don’t think there was
anything else I wanted, or that wanted me.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What was
the last great book you read? What was the last great film?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Favorite books I encountered for the first time last year: <a href="https://www.penguinrandomhouse.com/books/634158/no-one-is-talking-about-this-by-patricia-lockwood/" target="_blank"><i>No
One Is Talking About This</i> by Patricia Lockwood</a>, <a href="https://www.graywolfpress.org/books/just-us" target="_blank"><i>Just Us</i> by Claudia
Rankine</a>, <a href="https://www.coppercanyonpress.org/books/great-exodus-great-wall-great-party-by-chessy-normile/" target="_blank"><i>Great Exodus, Great Wall, Great Party</i> by Chessy Normile</a>, <a href="https://www.printedmatter.org/catalog/54593/" target="_blank"><i>Blackfishing
the IUD</i> by Caren Beilin</a>, <a href="https://nightboat.org/book/repetition-nineteen-replay/" target="_blank"><i>Repetition Nineteen</i> by Mónica de la Torre</a>, <a href="https://us.macmillan.com/books/9780374106874/aug9fog" target="_blank"><i>Aug
9 – Fog</i> by Kathryn Scanlan</a>, <a href="https://www.penguinrandomhouse.ca/books/549725/spectral-evidence-by-gregory-pardlo/9781524731786" target="_blank"><i>Spectral Evidence</i> by Gregory Pardlo</a>, and
<a href="https://www.penguinrandomhouse.ca/books/300852/a-person-of-interest-by-susan-choi/9780143115021" target="_blank"><i>Person of Interest</i> by Susan Choi</a>. It’s still too early to tell about
this year’s books. I also recently encountered <a href="https://www.imdb.com/title/tt0120265/" target="_blank"><i>Taste of Cherry</i>, the 1997
film by Abbas Kiarostami</a>, for the first time. I’ll take that one with me
wherever I go now.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">What are
you currently working on?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I recently started writing poems in a more associative mode
that are starting to cohere into something like a manuscript—many of the poems
have ended up called “The Internet.” I’ve been thinking on those and trying to
keep that impulse going. And I’m working on a review of a new novel for the
<i><a href="https://www.emilydickinsoninternationalsociety.org/bulletin" target="_blank">Emily Dickinson International Society Bulletin</a></i>. And I’m trying to decide
whether a verse novel I was writing is really a verse novel or if it’s just a
book of poems. Lots of little things to tinker with. Lots of things to keep me
busy.</span></p>
<p class="MsoNoSpacing" style="text-indent: 36.0pt;"><i><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a><br /><br /></span></i></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-53565137532557787932024-03-16T08:31:00.025-04:002024-03-16T08:31:00.167-04:00Gary Barwin, IMAGINING IMAGINING: Essays on Language, Identity & Infinity<p>
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<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">What about <i>my</i>
cohabitation with books? Unlike the well-ordered collection of my grandparents,
that served to reinforce, preserve and establish – though part of me longs for
such a Talmudic colloquy with the traditional structures of inquiry – I wish
for my own library to surprise and confound. To afford me the chance, as Dylan
Thomas says, to read “indiscriminately and all the time with my eyes hanging
out.” My personal library isn’t in one place. It’s pervasive. It’s scattered. It
oozes. It’s environmental. It’s in most rooms in the house. On shelves. In stacks.
Beside the bed. In the bathroom. In books borrowed or ones that have wandered
off to friends and family. I think of it as rhizomatic. Connected in invisible yet
nourishing ways. From book to book. From book to me. And from book to my now
adult kids. They have some of the books, as indeed, I ended up with some of my
parents’ books, as I still think about the books they had in my childhood. To paraphrase
a discussion about Deleuze and Guattari’s notion of culture, the library “spreads
like the surface of a body of water, spreading towards available spaces or trickling
downwards towards new spaces through fissures and gaps …” (“The Archive of Theseus”)<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxFiIyDIgHVNTzMTsPE6E950n2xXMpFRdfqn6SGdu-lncqhyWoxx-4kCVXdfoasC6_MkiFj3JH-sZRM6NbtFreH6E81vMGxVtVOIdqgNb32xI0-p-krWl2E7mPzLHEBkEHQ4ecv1zz5iW2cdCuO_a_V6Jgg4z30uJjP3EqVZ1tIx9boqfjqM4Uw/s835/ww_barwin_nonfic_imagining_coverFA_540x.webp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="540" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxFiIyDIgHVNTzMTsPE6E950n2xXMpFRdfqn6SGdu-lncqhyWoxx-4kCVXdfoasC6_MkiFj3JH-sZRM6NbtFreH6E81vMGxVtVOIdqgNb32xI0-p-krWl2E7mPzLHEBkEHQ4ecv1zz5iW2cdCuO_a_V6Jgg4z30uJjP3EqVZ1tIx9boqfjqM4Uw/w357-h552/ww_barwin_nonfic_imagining_coverFA_540x.webp" width="357" /></a></div>I’m
very much enjoying <a href="https://garybarwin.com/" target="_blank">Hamilton poet, novelist, visual and sound poet, performer, collaborator, musician and teacher Gary Barwin’s</a> latest, the collection of
essays <i><a href="https://bookstore.wolsakandwynn.ca/products/imagining-imagining-essays-on-writing-identity-and-infinity" target="_blank">IMAGINING IMAGINING: Essays on Language, Identity & Infinity</a></i>
(Hamilton ON: Wolsak & Wynn, 2024), twenty-three non-fiction pieces
originally prompted, as he writes in the acknowledgements, by Wolsak & Wynn
editor/publisher Noelle Allen, “who had the idea for a book of essays in the
first place and whose keen editorial advice was invaluable.” As he writes
further on, “Most of the essays here were written specifically for the
collection, but many were adapted from work written for other occasions […].” Composed
with humour and expansive thinking that punctuate the length of breadth of his
other work, these essays provide a curious and foundational centre for and how
he got to where he is now in his creative life; immersed equally, it would
seem, in an array of genres and movements—from surrealist poems and novels to
lyric narratives, visual and sound poetry, musical composition and performance,
and a range of collaborations across each and every one of these forms—in an
open, engaged and questioning manner. The essays here articulate the shapes of his
thinking, and how one idea might, impossibly, connect to another. “Before we
continue,” he writes, as part of “Wide Asleep: Night thoughts on Insomnia,” “a
word about digression and association. Association seems apropos to sleep (the
original Rorschach test) – borderless irrational night, ten-dimensional dream,
time as an infinitely sided crystal made of pure possibility and quantum entanglement.
Almost anything can relate to sleep. The endless monkey bars of darkness. The chocolate
bar wrapper of night. Ten emus lined up, shaggy, ready to brush against your
closed eyes.” There is such delight in the discoveries and connections that
Barwin makes in these pieces, and seeing ideas and references connect in real
time might perhaps be the finest element of these essays. Consider, for
example, the opening of the first essay, “Broken Light: The Alefbeit and What’s
Missing,” that begins:<p></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">When I was a little
left-handed kid growing up in Ireland, we used fountain pens and I always smudged
the letters as I wrote. I was really happy when I began going to Hebrew school
and found out that Hebrew is read from right to left – the opposite of English.
I could write clearly now while all the right-handed kids smudged their writing
and got ink all over their hands. It was electric: this idea that language
could be turned around. That it could make you look at things differently. Your
inky hand. The page. Your way of being in the world.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">This
single paragraph, akin to a strand of DNA, somehow holds the entirety of Gary
Barwin’s approach to his entire creative output. Or at least, might provide any
new reader of his work a kind of introduction. To consider his poetry titles
from the past few years alone can be overwhelming, showcasing a small degree of
those myriad directions he moves across almost simultaneously: Barwin and
Lillian Nećakov’s collaborative <i><a href="https://guernicaeditions.com/products/duck-eats-yeast-quacks-explodes-man-loses-eye" target="_blank">DUCK EATS YEAST, QUACKS, EXPLODES; MAN LOSES EYE: A Poem</a></i> (Toronto ON: Guernica Editions, 2023) [<a href="http://robmclennan.blogspot.com/2023/04/gary-barwin-and-lillian-necakov-duck.html" target="_blank">see my review of such here</a>], <a href="https://ecwpress.com/products/most-charming-creatures" target="_blank"><i>the most charming creatures: poems</i></a> (Toronto ON: ECW Press, 2022)
[<a href="https://robmclennan.blogspot.com/2022/09/gary-barwin-most-charming-creatures.html" target="_blank">see my review of such here</a>], a second full-length collaboration with Tom
Prime, <i><a href="https://www.newstarbooks.com/book.php?book_id=1554201853" target="_blank">Bird Arsonist</a></i> (Vancouver BC: New Star Books, 2022) [<a href="https://robmclennan.blogspot.com/2022/01/gary-barwin-and-tom-prime-bird-arsonist.html" target="_blank">see my review of such here</a>], a collaboration with <i>Gregory Betts, The Fabulous Op</i>
(Ireland: Beir Bua Press, 2022) [<a href="http://robmclennan.blogspot.com/2022/05/gary-barwin-and-gregory-betts-fabulous.html" target="_blank">see my review of such here</a>] and <a href="https://bookstore.wolsakandwynn.ca/products/for-it-is-a-pleasure-and-a-surprise-to-breathe" target="_blank"><i>For It Is a
PLEASURE and a SURPRISE to Breathe: new & selected POEMS</i>, edited with
an Introduction by Alessandro Porco</a> (Hamilton ON: Wolsak and Wynn, 2019) [<a href="http://robmclennan.blogspot.com/2019/10/gary-barwin-for-it-is-pleasure-and.html" target="_blank">see my review of such here</a>]. I won’t even begin to discuss multiple solo and
collaborative chapbooks, his musical performances (solo and collaborative),
visual works, sound works, short prose or novels. How does he keep track of it
all? Infinite, indeed. This is a remarkable work, and one remarkably layered, complex and
polyphonic, composed with such an ease through the language, even within
surreal bends, quirky leaps and outright left-field asides. Somehow, these
essays introduce how the connections between seemingly-disparate works might
connect, all part of the same expansive way of considering the world; how
Barwin approaches and engages not only different perspectives, but multiple: he
connects his lefthandedness with learning Hebrew, and connects learning Hebrew
with his concurrent experiences growing up in Ireland. Through Barwin, somehow,
everything connects, and there is such logic and clarity to his connections. I think
of this paragraph, for example, included as part of the essay “That’ll Leave a
Mark,” which looks at collaborating in creating a public art sculpture, but one
that includes a perspective from years of working within the landscape of small
and micro literary presses in Canada:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">A couple of years ago I,
along with two artist friends of mine, Tor Lukasik-Foss and Simon Frank, were
chosen to create a public artwork for the City of Hamilton. The work was to address
refugees, migrants, immigrants, persecution, the search for freedom and safety
in new home. We designed and had ten bronze suitcases with a variety of symbols
on them. One suitcase would lie open on its side with a live tree growing out
of it. I’d never been involved in creating public art, let alone sculpture. The
lengthy and expensive process of creating bronze sculptures was fascinating. High
temperatures. Fire. Blowtorches. Chemicals. Molten metal. Here was a work that I
was involved in that was really heavy. Literally. And permanent. It could last
for hundreds of years ensconced beside the path in the park. Not at all like a
leaflet.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"> </span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-46880356928883679272024-03-15T08:31:00.046-04:002024-03-15T08:31:00.143-04:00today is my fifty-fourth birthday,<p><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1n_y4Wh5bq1eaizABFIfl-L4ThzRM2p7hgYO-4GHJgcvpPMqM1DcuT-WRbyNzn19FRN1eras1NVdEvD9Oi3YKR3BV6jLU012REXL9hgdTgLtJ84JenpIXOr7UVNtw6-ARqvG0c7OJf5nmRLrKv8RxNmgpMOyrANRpe__YTGQfUVilCilXaVMsMg/s3941/rob%20at%20fifty%20four.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1262" data-original-width="3941" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1n_y4Wh5bq1eaizABFIfl-L4ThzRM2p7hgYO-4GHJgcvpPMqM1DcuT-WRbyNzn19FRN1eras1NVdEvD9Oi3YKR3BV6jLU012REXL9hgdTgLtJ84JenpIXOr7UVNtw6-ARqvG0c7OJf5nmRLrKv8RxNmgpMOyrANRpe__YTGQfUVilCilXaVMsMg/w555-h177/rob%20at%20fifty%20four.png" width="555" /></a></div>although,
between working on curating <b><a href="https://www.verseottawa.ca/en/versefest" target="_blank">next week’s VERSeFest</a></b>, working copy edits on my
upcoming short story collection, <a href="https://ualbertapress.ca/9781772127690/on-beauty/" target="_blank"><i>On Beauty</i></a> (scheduled to release in August)
and a few other factors (Rose broke her right pinky recently, which meant
multiple attempts to find a working x-ray machine across Ottawa’s east end), I’ve
barely had any attention span for any actual birthday anythings [<a href="https://robmclennan.blogspot.com/2023/03/today-is-my-fifty-third-birthday-sigh.html" target="_blank">where was I last year?</a>]. Enough that I couldn’t
even have my usual birthday gathering at the Carleton Tavern this time around (I
took too long to get around to booking, and by then, it was too late). <b><a href="https://www.verseottawa.ca/en/versefest" target="_blank">But VERSeFest next weekend is going to be amazing</a></b>. <a href="https://periodicityjournal.blogspot.com/search/label/VERSeFest" target="_blank">Have you seen the interviews appearing
online at <i>periodicities: a journal of poetry and poetics</i> to help promote
such</a>?<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">And
you know the above poem from <a href="https://robertkroetsch.ca/" target="_blank">Robert Kroetsch</a>, don’t you? Strange for me to
consider that I am now at the age where he was then, part of his <a href="https://canadianpoetry.org/volumes/vol37/cook.html" target="_blank"><i>Letters to
Salonika</i></a> (Toronto ON: Grand Union Press, 1983) (an edition gifted by dear
half-sister a couple of years back), the poem-sequence he wrote about his then-wife, <a href="https://www.english.utoronto.ca/people/directories/all-faculty/smaro-kamboureli" target="_blank">Smaro Kamboureli</a>, being away, while Smaro was away and working on her <i><a href="https://www.mdpi.com/2076-0787/8/1/17" target="_blank">in the second person</a></i>
(Edmonton ON: longspoon press, 1985). Not a solo birthday, but they leave soon
enough: Christine and our young ladies head to hang out with father-in-law and
his wife in Boca Raton, Florida for four days, starting Sunday. I remain here,
working on festival publicity and other such details. We hadn’t been to
father-in-law’s condo there since 2015, attempting an annual February/March trip
that we haven’t managed since Aoife was born [<a href="https://robmclennan.blogspot.com/2015/04/boca-raton-trilogy.html" target="_blank">see my report on that 2015 trip</a>].
Had a different timing been possible, perhaps. I shall be home.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">And,
regarding Kroetsch: I’m still amused at the book he wrote about Smaro
being away, as Smaro wrote a book about Smaro being away. While Christine
was attending her two weeks at <a href="https://www.banffcentre.ca/literary-arts" target="_blank">Banff Writing Studio</a> in January of last year, I played
my version of same, writing a poem sequence via Kroetsch’s own structure of
dailyness about Christine being away, which I produced last summer as a
chapbook, <i><a href="https://abovegroundpress.blogspot.com/2023/07/new-from-aboveground-press-edgeless.html" target="_blank">edgeless : letters</a>,</i> (2023). Be aware that the book she was
working to finish during that period (the same project she turned from mound of
paper to manuscript during her time at Sage Hill in 2019), <a href="https://bookhugpress.ca/shop/author/christine-mcnair/toxemia-by-christine-mcnair/" target="_blank"><i>Toxemia</i>
(Book*hug Press), is out this fall, and already up for pre-order</a>.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7uFpKGgWrTNK6iis5SdaYUArfNt4YPOWAifsVW9iuP8Kr4HwmaPfzDc8Q4pLTwzAtGSuc3W3yUEQyMST5DZVXaUfG0UiJs8JTc4vdPjaO1yokeuGsn0WiaUY8LFfeoAbOflgjwyHq0_q3e3AynQdvBsUmkxL8SEPz1GMHEzIRWt3IDh7HjLdYg/s1280/WIN_20240313_12_27_32_Pro.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7uFpKGgWrTNK6iis5SdaYUArfNt4YPOWAifsVW9iuP8Kr4HwmaPfzDc8Q4pLTwzAtGSuc3W3yUEQyMST5DZVXaUfG0UiJs8JTc4vdPjaO1yokeuGsn0WiaUY8LFfeoAbOflgjwyHq0_q3e3AynQdvBsUmkxL8SEPz1GMHEzIRWt3IDh7HjLdYg/w587-h330/WIN_20240313_12_27_32_Pro.jpg" width="587" /></a></div>Naturally,
I’ve been wearing my birthday pin for the week, picking it up off a bookshelf
for daily wear this past Sunday. I take the week, after all. I think it’s that
March Break holdover, unable to find the birthday acknowledgement my school-peers
might have, everyone home when mine would finally come around. <p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Distracted
enough these days, that I’ve so far been unable to even consider a potential birthday
poem this year. Might this be the first year I skip? We shall see what next
week brings, hoping to get a couple of afternoons in a tavern somewhere, with
notebook and pen and mound of books, attempting to catch my breath a bit. Perhaps
the option remains. But let’s get through the weekend. Although, really, there
have been little to no poems for quite some time, focusing the past eighteen
months on larger prose (fiction and non-fiction) projects; still, there were
pages upon pages upon sketched-out notebook pages from our Florida jaunt last
fall [<a href="https://robmclennan.blogspot.com/2023/11/second-star-to-right-and-straight-on.html" target="_blank">see my report on such here</a>], but none of which I’ve been (as yet) able to
return to. One project prompted by the work of <a href="https://www.poetryfoundation.org/poets/laynie-browne" target="_blank">Laynie Browne</a>, another prompted
by the work of <a href="https://www.barrymckinnon.com/" target="_blank">Barry McKinnon</a>. I keep hoping: soon.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeHb9qBf1t8yU1PUhgH99TQFpc_yFlT_qcvR3XaztUo7r0aP9gHFikqUxk0CN85iMMfQtO9v4woqKnEaaP6dKzG9C77sETuBuz-DiFtlt3LqW5CrhBZIsqewMVxfig5z3r-LInOrR4cD6yZc9myUdhZ8GytqEQoqZZEP4kik10ggf2lgrj_8j1A/s4032/IMG_7372.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeHb9qBf1t8yU1PUhgH99TQFpc_yFlT_qcvR3XaztUo7r0aP9gHFikqUxk0CN85iMMfQtO9v4woqKnEaaP6dKzG9C77sETuBuz-DiFtlt3LqW5CrhBZIsqewMVxfig5z3r-LInOrR4cD6yZc9myUdhZ8GytqEQoqZZEP4kik10ggf2lgrj_8j1A/w448-h336/IMG_7372.JPG" width="448" /></a></div>The
young ladies this past March Break week in another Forest School day-camp [<a href="https://robmclennan.blogspot.com/2023/03/today-is-my-fifty-third-birthday-sigh.html" target="_blank">just like last year, except sans snow</a>],
although the finger Rose injured last week apparently a minor break, so
Wednesday morning was a second x-ray and a splint, which she must wear for four
weeks, followed by a further two weeks of tape. It means the end of those Saturday
morning gymnastics classes, unfortunately (those things aren’t cheap, you know).<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">I
work to further dismantle my home office, what I’ve been a month already working
on, moving myself into the finished basements. Our young ladies have become too
big to share a bedroom anymore. I’ve already moved multiple bookcases and at
least fifty to sixty boxes of books out of my office either downstairs or into
storage. The fact that neither child has even noticed what I’m doing yet might
say something of them, but just as much the state of my office, I suppose. It would
be nice to have completed this task by the time they land home. I’m not sure such
might be possible, but we shall see. I only started this process on February 6<sup>th</sup>.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Birthday,
a check-in: in my note last year I mentioned an extended period of breathlessness,
currently feeling I’ve been in a version of same since, what, last July? Pushing
edits on my short stories, working on my genealogical creative non-fiction
project, “the genealogy book” [<a href="https://robmclennan.substack.com/" target="_blank">posting excerpts to substack, naturally</a>], the
household taking turns across two weeks with flu at Christmas (every day a new
cancellation of social gatherings, and a Christmas dinner at least four days late)
and now my copy edits, which are actually due today. On my birthday? Come on.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Hoping
once the non-fiction a bit further along or even completed I can return to the
novel I began during the onset of Covid; a handful of short
stories-in-progress, as well as further essays on fiction writers. At least
three poetry projects begun but on hold (as I said), including one that I’ve
excerpted for the tenth anniversary issue of <i><a href="http://touchthedonkey.blogspot.com/" target="_blank">Touch the Donkey [a small poetry journal]</a></i>, which lands in another month. And don’t I have a chapbook
soon with <a href="https://turrethousepress.ca/" target="_blank">Montreal poet James Hawes’ Turret Press</a>? And another full-length poetry
title en route as well, recently accepted for most likely 2026 publication (but
we aren’t talking about that yet).</span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-87164819653888259082024-03-14T08:31:00.053-04:002024-03-14T08:31:00.134-04:0012 or 20 (second series) questions with Michael Chang<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnwnS7L1Pjtq3LAq9CTOjtx65qD6XpmoOA2CriHucw7HTQSUYKfqAxBlTewi_Vwm2AiOyycOZscGrScroVPhr53QzBLR2o1ZhD5LJaMBCdXHNAINS1XM3Vs-lvlAe-U1oZxt4SakEROoDACiuqvWmV44NGOW6jc4bnbS4PtzTxey-Hvx_tiRZTQ/s8155/MCPORTRAIT1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="8155" data-original-width="5439" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnwnS7L1Pjtq3LAq9CTOjtx65qD6XpmoOA2CriHucw7HTQSUYKfqAxBlTewi_Vwm2AiOyycOZscGrScroVPhr53QzBLR2o1ZhD5LJaMBCdXHNAINS1XM3Vs-lvlAe-U1oZxt4SakEROoDACiuqvWmV44NGOW6jc4bnbS4PtzTxey-Hvx_tiRZTQ/w316-h475/MCPORTRAIT1.JPG" width="316" /></a></b></div><b><a href="https://linktr.ee/mchang" target="_blank">Michael Chang</a> </b>(they/them) is the author of <i><a href="https://nupress.northwestern.edu/9780810146211/synthetic-jungle/" target="_blank">SYNTHETIC JUNGLE</a></i> (Northwestern University Press, 2023) & <i>THE HEARTBREAK ALBUM</i> (Coach House Books, 2025). They edit poetry at <i><a href="https://fenceportal.org/" target="_blank">Fence</a></i>.<br /><br /><b>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?</b><br /><br />My debut chap, <i><a href="https://www.bateaupress.com/store/p/drakkar-noir" target="_blank">DRAKKAR NOIR</a></i>, came into existence because I won a contest. It was an eye-opening introduction to publishing, and the phenomenal people at Bateau Press took great care of me. <br /><br />It's not up to me to say how the work is or feels different. I think the books demonstrate a natural evolution in my process. I'm trying to get at those same obsessions (not my favorite word) and concerns but from different angles.<br /><br /><b>2 - How did you come to poetry first, as opposed to, say, fiction or nonfiction?</b><br /><br />I didn't have the patience for anything else.<br /> <br /><b>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?</b><br /><br />I don't think of them as projects, exactly. The writing comes in waves, and always hard and fast. I don't do "drafts" because I don't revisit poems after they are written.<br /><br /><b>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?</b><br /><br />For the most part I don't like themed books because the themes are often silly and the books grandiose and self-aggrandizing. In my own practice I tend to write until I have a critical mass of poems that I can bundle together in a collection.<br /><br /><b>5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?</b><br /> <br />I avoid readings unless I'm supporting a friend or have something to promote. <br /><b><br />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?</b><br /><br />I'll write about anything and everything and do it with a critical eye, a strong point-of-view that could only be mine.<br /><b><br />7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?</b><br /><br />The role of the writer is entertainment. You should make people feel good, but it's okay to also make them uncomfortable and reflective in their positions.<br /><br /><b>8 - Do you find the process of working with an outside editor difficult or essential (or both)?</b><br /><br />The editor-writer relationship must be governed by mutual admiration and respect. I have a very clear idea of how I want things to look, sound, etc., and editors know that coming in the door.<br /><br /><b>9 - What is the best piece of advice you've heard (not necessarily given to you directly)?</b><br /><br />Sometimes people act not out of malice but out of stupidity.<br /><b><br />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?</b><br /><br />No routines beyond days earmarked as Reading Days or Writing Days. I keep those separate.<br /><b><br />11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?</b><br /><br />I never stall but imagine watching a good movie would bring me back.<br /><br /><b>12 - What fragrance reminds you of home?</b><br /><br />Right now it's <a href="https://comme-des-garcons-parfum.com/products/serpentine" target="_blank">Serpentine by Comme des Garçons</a> and <a href="https://www.fredericmalle.com/product/19566/71255/parfums/rose-cuir/by-jean-claude-ellena" target="_blank">Rose & Cuir by Frédéric Malle</a>.<br /><br /><b>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?</b><br /><br />I don't talk about influences or references. Folx can (and should) draw their own conclusions from reading my work!<br /><br /><b>14 - What other writers or writings are important for your work, or simply your life outside of your work?</b><br /><br />I don't talk about other writers, either. I am highly focused on my own practice.<br /><b><br />15 - What would you like to do that you haven't yet done?</b><br /><br />Run for office, maybe.<br /><br /><b>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?</b><br /><br />Something in fashion, probably.<br /><br /><b>17 - What made you write, as opposed to doing something else?</b><br /><br />Because nobody else is doing what I'm doing.<br /><br /><b>18 - What was the last great book you read? What was the last great film?</b><br /><br /><a href="https://www.graywolfpress.org/books/modern-poetry" target="_blank">Diane Seuss's new book</a>, which she very kindly sent.<br /><br />Probably the Taiwanese movie <i><a href="https://www.imdb.com/title/tt10329134/" target="_blank">Your Name Engraved Herein</a></i> -- heartbreaking but also lends itself to repeat viewing. Visually terrific.<br /><br /><b>19 - What are you currently working on?</b><br /><br />A full-length collection, which is coming together very nicely.<br /><br />Also getting my next book ready for publication in -- hopefully -- early 2025.<br /><br /><i><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a></i><br /><br /><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-84222566144266533062024-03-13T08:31:00.017-04:002024-03-13T08:31:00.159-04:00Kate Bolton Bonnici, A True & Just Record<p> <!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Sick, they drink. This is
the order of desire.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">What can be seen:
seeking.<br />What cannot: <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">In search of</span></i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"> needs a
burning to go from.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">The fairy tree Spencer
will call <i>warlike</i>, in May<br />makes beauty thronged by
demand, <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Belonging by custom not<br />by calling nor by name. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Is a walk with girls proximate</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">to the walk of the sick
and which is other? wreaths<br />left nearby for the
nearby image of one blessed <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">and one blessing</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">The near enough to hear,
far enough to split<br />sickness, girlhood. Sad fringe
of fairy belief. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">She hears too from those
so-called of bodies</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Politic and church,
having seen the there-gathered.<br />But what’s said is stuck
at proving <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">a statement made, not any
other truth. (“Joan of Arc: Third Public Session, February 24, 1431”)<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDyp5ldtOkfk3zUMhZ3ym7Rwdd-On0xyl1Xo3oRaOudWtB6nVVODo6xsRNDU9D_q6EDpnebbXBIjsynl4mshuI7QCk9jxrR_36UODlEFWx1gGtSub51MJ7vqvjcVzTv9H5177N8lz1eozX37SM8d29xQI0_MYJseelT9cIDgzorSA7qTEm6NWWw/s935/379ac6_3932e6413be842b19bd600e4aa507506~mv2.webp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="609" height="537" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDyp5ldtOkfk3zUMhZ3ym7Rwdd-On0xyl1Xo3oRaOudWtB6nVVODo6xsRNDU9D_q6EDpnebbXBIjsynl4mshuI7QCk9jxrR_36UODlEFWx1gGtSub51MJ7vqvjcVzTv9H5177N8lz1eozX37SM8d29xQI0_MYJseelT9cIDgzorSA7qTEm6NWWw/w349-h537/379ac6_3932e6413be842b19bd600e4aa507506~mv2.webp" width="349" /></a></div>The
second full-length poetry title from <a href="https://www.kateboltonbonnici.com/" target="_blank">Los Angeles-based poet Kate Bolton Bonnici</a>,
following <a href="https://coloradoreview.colostate.edu/books/night-burial/" target="_blank"><i>Night Burial</i></a> (Fort Collins CO: The Center for Literary
Publishing, 2020) [<a href="http://robmclennan.blogspot.com/2021/01/kate-bolton-bonnici-night-burial.html" target="_blank">see my review of such here</a>], is <a href="https://www.boilerhouse.press/product-page/a-true-just-record-by-kate-bolton-bonnici" target="_blank"><i>A True & Just Record</i></a>
(Norwich UK: Boiler House Press, 2023), a collection originally prompted by and
through the author’s interest in researching 16<sup>th</sup> and 17<sup>th</sup>
century pamphlets during a period of time that quickly fell into the onset and
influence of Covid-19 lockdowns. “Late March 2020,” Bonnici writes in her
introduction, “Witch Stichomythia: Chances, Changes, & Strange Shapes,” “I tried
over the phone to help my grandmother—97, already living alone, and now
entirely isolated due to COVID-19 restrictions—figure out how to operate a laptop
computer so that she could send emails and read the news online. Meanwhile in
my own reading, I toggled between doomscrolling hyper-current headlines and
researching English blackletter pamphlets from the 16<sup>th</sup> and 17<sup>th</sup>
centuries. Some of the latter fittingly concerned plague, such as the remarkable
pamphlet attributed to Thomas Dekker—<i>The Wonderfull yeare. 1602. Wherein is
shewed the picture of London, lying sicke of the Plague</i>. Through prose and
poetry, <i>The Wonderfull yeare</i> navigates that earlier <i>mirabilis annus</i>,
as Dekker calls it, ranging from Queen Elizabeth’s death to the onslaught of
widespread illness, by “tell[ing] only of the chances, changes, and strange
shapes that his Protean Climactericall year hath metamorphosed himselfe into.”<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Composed
out of twenty-four poems, each piece in <i>A True & Just Record</i> unfolds
and expands, akin to the ripples of water from a pebble thrown into a lake,
offering rings upon further rings beyond where the piece might have begun. “Little
Red Cap holds a lesson / on endings.” she writes, as part of the poem “Story of
Grandmother.” The narratives of many of her poems are pulled, spread apart and
stitched from a multitude of threads, stitching together dire warnings with wisdoms,
concerns and seemingly-impossible questions. “<i>Imprimis</i>,” she writes, invoking
a sequence of firsts as part of the poem “Upon Information, Belief,” one of the
few poems in the collection under a page in length, “a painting of Mary &
Jesus hosts the Three Living & the / Three Dead. / <i>Imprimis</i>, do you
know the evening prayer for getting my kid to bed?” Bonnici focuses her
attentions in this collection on a conversation around the English witch trials
and a sequence of women through archival texts, weaving medieval language and
text from a variety of pamphlets into poems such as “Joan Cason: Executed for
Invocation, 1586,” “Elizabeth Fraunces: Executed for Witchcraft, April 1579,” “Elizabeth
Sawyer: Executed for Witchcraft on Thursday, April 19, 1621,” “Joan of Arc:
Third Public Session, February 24, 1431” and “Elizabeth Stile: Executed for
Witchcraft, 1579.” Connecting those isolations and those readings, she turns the
combination into a response that can’t help come through as writing, as she
offers in a further part of her introduction:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Reading sometimes turns to writing when one wants
communion. For writing begins, as Michel de Certeau explains, in loss. This loss
lies not only in the impossible distance between presence and sign. Writing begins
in want, which means both lack and desire. Writing into the want of and for
communion (with far-away family, long-ago literature, past and present
scholarship) necessitates chances, changes, strange shapes.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">It
is curious to see Bonnici examine the threads of that particular <i>mirabilis
annus</i>, that “marvelous year,” given the related (or opposing) phrase utilized
by Queen Elizabeth II, “<i>annus horribilis</i>,” or “horrible year,” offered
as part of her Ruby Jubilee speech in November 1992, referencing the previous
calendar year across the Royal Household. Just as the first Queen Elizabeth of
England died during that earlier period, so, too, her contemporary namesake,
who fell ill and died during the Covid-era (just beyond the temporal boundaries
of this particular collection, I would presume), which do make a curious
correlation between eras. “<i>The Wonderfull yeare</i> is a pamphlet of princes
& plague,” Bonnici writes, near the end of the collection, “all the ways
one can be / worm-written written in blackletter (font & as to the law—what
is) // how some come from the maw of disease & others— […].”</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">There
are elements of this particular work comparable to the work of Philadelphia
poet Pattie McCarthy, also known for folding in medieval language, as well as focusing
on women of that era, from mothering to childbirth to healthcare (or what passed
for such during those times) [<a href="https://robmclennan.blogspot.com/2021/06/pattie-mccarthy-wifthing.html" target="_blank">see my review of her 2021 collection <i>wifthing</i>
here</a>]. Bonnici, in her way, approaches her collection from two different tethers:
the language and content of medieval pamphlets around the witch trials and
plague, and contemporary considerations through the Covid-era, acknowledging
the wisdom of grandmothers, specifically her own, across the other end of that
telephone line. Whatever medieval implications might run through the
collection, the book opens and closes with grandmothers, framed against all
else that may exist within. As she writes as part of the poem “Story of
Grandmother,” a piece very close to the opening:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">which means speaking the
body of an old wives’<br />tale, the one where the
witch <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">spun is a girl, twelve,
spinning herself this claim: witch,<br />which is what opens the
art<br />of want, the audacity to
demand: sheep, wealth, wife,<br />a promise if she would <i>fyrste
consent</i>. But spell love with blood,<br />and the bargained-for
breaks down (learned<br />once desire’s <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">been given to) […]</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"> </span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-48591369856497240632024-03-12T08:31:00.018-04:002024-03-12T08:31:00.149-04:0012 or 20 (second series) questions with Joelle Barron<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30bhJsiuis2zELFaiYeZcHV9mG9BVdyQzwrbwkWss-8bxOO2d3m1uyWXvu_HKQhJMEZAZjOcwuSJbWGCVMOuplNNbLGP69_yxFY_KOjdFU2vxYlMoYdptkt2AJOe5DDdYPK5SBbufUeO2qk9vjPlf__JstvunHcmyKwHmPKpCxD87ZWrbrlQl1A/s5390/Barron,%20Joelle-TO%20USE-no%20credit%20required.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5390" data-original-width="3593" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30bhJsiuis2zELFaiYeZcHV9mG9BVdyQzwrbwkWss-8bxOO2d3m1uyWXvu_HKQhJMEZAZjOcwuSJbWGCVMOuplNNbLGP69_yxFY_KOjdFU2vxYlMoYdptkt2AJOe5DDdYPK5SBbufUeO2qk9vjPlf__JstvunHcmyKwHmPKpCxD87ZWrbrlQl1A/w325-h489/Barron,%20Joelle-TO%20USE-no%20credit%20required.jpg" width="325" /></a></div><p><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"><a href="https://www.instagram.com/joelle_barron/" target="_blank">Joelle Barron</a></span></b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"> is an award-winning poet
and writer living and relying on the Traditional Territories of the
Anishinabewaki of Treaty 3 and the Métis people (Fort Frances, ON). Their first
poetry collection, <i><a href="https://gooselane.com/products/ritual-lights" target="_blank">Ritual Lights</a></i> (icehouse poetry, 2018), was nominated for the
Gerald Lampert Memorial Award. In 2019, they were a finalist for the Dayne
Ogilvie Prize for Emerging LGBTQ2S+ Writers. Barron’s poetry has appeared in <i>ARC
Poetry Magazine</i>, <i>CV2</i>, <i>EVENT Magazine</i>, <i>The New Quarterly</i>,
and many other Canadian literary publications. They live with their daughter.</span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">1 - How did your first book change
your life? How does your most recent work compare to your previous? How does it
feel different?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">My first book changed my life in that it connected me to
people who I never would have otherwise known, and it gave me a place in the
world of Canadian poetry. I think with <a href="https://nightwoodeditions.com/products/9780889714700" target="_blank">this second book</a> I’m more confident in
my voice and point of view, with similar themes of queerness and isolation but
a more positive vibe overall. I wanted to write a book of love poems this time,
because they are my favourite poems to read. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">2 - How did you come to poetry first,
as opposed to, say, fiction or non-fiction?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I started writing poems in early childhood. I don’t really
know why; I have just always gravitated to writing as a form of
self-expression. My cousin—who was like a sister to me—died suddenly when I was
13, and in the process of going through her things, I found that she wrote
poetry. I began writing poems to process her death, and I’ve never really
stopped. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I am extremely slow to start anything. Thinking about doing
the thing is a big part of doing the thing for me. What I love about writing
poetry is that, initially, it’s easier not to overthink it than with prose.
Typically, the final product looks very different than the initial attempt,
because I never start off imposing any sort of form or structure to a piece;
that’s part of the editing process for me. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">4 - Where does a poem or work of prose
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?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">A poem usually begins with an image, or a line. Usually the
title; like, what would a poem with the title “Your Wife is a Cryptid” be
about? It sort of shapes itself from there. I don’t usually start writing with
a whole book in mind, but I follow whatever themes naturally emerge. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">5 - Are public readings part of or
counter to your creative process? Are you the sort of writer who enjoys doing
readings?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I live in a rural area so I don’t get the opportunity to do
many readings. I get super nervous for readings but I do always enjoy them.
Workshopping is definitely key to my process, and I really love to share my
work in that capacity. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">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?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">This is a hard question for me to answer because I am
autistic and part of that for me is that I am a very literal person. I don’t
think I’m trying to answer any questions with my work; I write because people
typically understand me better through writing than through spoken
communication. So for the most part, I am writing to connect, and to feel less
alone in the world. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">7 – What do you see the current role
of the writer being in larger culture? Do they even have one? What do you think
the role of the writer should be?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I think the role of writers is to connect people. There’s
something so potent about seeing something you’ve always felt described with
language. Or understanding something you’ve never felt because it’s described
so adeptly. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">8 - Do you find the process of working
with an outside editor difficult or essential (or both)?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Essential! I can’t say I’ve ever found working with an
editor to be difficult. I am grateful for all of the editors in my life. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">9 - What is the best piece of advice
you've heard (not necessarily given to you directly)?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">The best writing advice I’ve been given is just to do it,
regardless of how badly you feel about it or how hard you’re tempted to be on
yourself. The best general life advice I’ve been given is don’t be in a
relationship with someone who won’t dance with you at a wedding. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">10 - How easy has it been for you to
move between genres (poetry to fiction)? What do you see as the appeal?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Fiction is harder than poetry because you have to keep hold
of so many threads. My poetry is narrative, but you can only do so much in a
poem. The appeal of fiction is that it gives you a lot more space to tell a
story. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">11 - What kind of writing routine do
you tend to keep, or do you even have one? How does a typical day (for you)
begin?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I get up in the morning about an hour before my daughter
and read. Reading is an important part of my writing process, and I find it a
lot more difficult to access that “writer” part of my brain if I’m not reading
a lot. It’s harder to have a routine around writing, being a busy single
parent. When I do write, I like to sit down for at least a few hours, in the
evening or on the weekend. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">12 - When your writing gets stalled,
where do you turn or return for (for lack of a better word) inspiration?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I walk the dog. Moving my body (without the distraction of
music or a podcast) usually shakes things loose. I also re-read works that I
know inspire me and make me want to keep trying. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">13 - What was your last Hallowe'en
costume?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Mary Jane Watson. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">14 - 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?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">All of the above for sure. Literally anything can (and
should?) be poetry. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">15 - What other writers or writings
are important for your work, or simply your life outside of your work?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">This would be an extremely long list if I mentioned all of
the writers whose work is important to me, so I am just going to mention my two
close friends and editors, <a href="https://ruthdaniell.ca/" target="_blank">Ruth Daniell</a> and <a href="http://elliesawatzky.com/" target="_blank">Ellie Sawatzky</a>. Brilliant poets who
inspire me and make me a better poet. Also, I wouldn’t be a poet without <a href="https://rheatregebov.ca/" target="_blank">Rhea Tregebov</a>. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">16 - What would you like to do that
you haven't yet done?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Run across a windy moor in some sort of Victorian
nightgown. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">17 - 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?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">In another life, I would be a midwife for sure. It’s really
hard to imagine what I would have done if not writing. It’s one of the few
things I’ve ever felt sure about. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">18 - What made you write, as opposed
to doing something else?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Writing just always made me happy. I always loved to read,
and that made me want to write stories of my own. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">19 - What was the last great book you
read? What was the last great film?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">Book: <a href="https://www.ellenbass.com/books/like-a-beggar/" target="_blank"><i>Like a Beggar</i> by Ellen Bass</a>. Movie: <i><a href="https://www.imdb.com/title/tt17009710/" target="_blank">Anatomy of a Fall</a></i>. </span></p>
<p class="MsoNormal" style="background: white;"><b><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">20 - What are you currently working
on?</span></b></p>
<p class="MsoListParagraph" style="background: white; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><span lang="EN-US" style="color: black; font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol; mso-font-kerning: 0pt; mso-ligatures: none;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="EN-US" style="color: black; font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;">I’m about half done the first draft of a novel.</span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Garamond",serif;"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a><br /><br /></span></i></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-13306907608019959872024-03-11T08:31:00.010-04:002024-03-11T14:28:30.254-04:00Rosa Alcalá, YOU: poems<p> <!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-left: 36pt;"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">You, Supplicant</span></b></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Over sashimi tostados and
chelas, you tell your girlfriends about the time you kneeled on the carpeted
stairs that led to the bedroom of the guy who dumped you, pleading. O, his long
hair—his thinness—like Jesus! They said they couldn’t see it. “You, for a man,
begging?” And how his roommate gently lifted you to your feet, an act of
kindness like so many meted out in those days by men adjacent to another man’s
destruction. He was trying to pull you from the image of yourself, not as
beautiful but as a supplicant before beauty. A penitent whose suffering was the
deep and persistent condition of being a woman. It was, like dictatorship, like
First Communion, a perversion. You didn’t say this to your girlfriends. You moved
on to translation problems, and your humiliations remained fuzzy backdrops,
like bookcases in author photos.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ911wCFcxyBjbstO0X03ey-JqvLv3-zK3B1D2Uxzldh1V7I226fXA_Pp3x9Cu-kcT9QR7O-2sqyt9txnXtNAX6KTkzRfUY8yxVWhxmrzH1vVPgvdWTCHdCTBsy0cAjAOpUAqrygZOYrLetHwScHkTQYq3_EqykD0UMsRKlsZZTax9jljYQ6CNkg/s1024/YOU_1024x1024.webp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="683" height="556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ911wCFcxyBjbstO0X03ey-JqvLv3-zK3B1D2Uxzldh1V7I226fXA_Pp3x9Cu-kcT9QR7O-2sqyt9txnXtNAX6KTkzRfUY8yxVWhxmrzH1vVPgvdWTCHdCTBsy0cAjAOpUAqrygZOYrLetHwScHkTQYq3_EqykD0UMsRKlsZZTax9jljYQ6CNkg/w370-h556/YOU_1024x1024.webp" width="370" /></a></div>The
fourth full-length collection by <a href="https://www.rosaalcala.com/about" target="_blank">Texas-based poet Rosa Alcalá</a> is <i><a href="https://coffeehousepress.org/products/you" target="_blank">YOU: poems</a></i>
(Minneapolis MN: Coffee House Press, 2024), “a collection of prose poetry
exploring the intergenerational inheritance of gendered violence.” In a
striking assemblage of lyric scenes composed via a suite of hefty prose poems, Alcalá
writes on age and of distance, gendered violence and teenaged exploration, focusing
on points along the path from child to young woman to becoming and being the mother
of a young daughter. “What I mean to say is that this book is still about my
mother,” she writes, as part of the opening poem, “How It Started, How It’s
Going {An Introduction},” “that in the absence of her I mothered myself all
over again with worry, / which is how I mother. // I spoke to myself, the only
recourse when you’re / invisible.” Alcalá composes her poems through an
accumulation of direct statements that unfold, unfurl, each sentence another
card placed, face up, on the table. She is showing you her cards, more often
than not as a warning. “Everything was lies,” she writes, as part of the poem “You
Lie,” “and there was nothing / to keep you from your own fabrications, no
eternal fire.” And then, how to warn her daughter without gifting her a new
trauma; how to protect without offering frightening tales of what could happen,
or what had happened to her.<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">The
“you” of Alcalá’s title suggests both singular and the multiple, from the narrator’s
emerging self to the multitude of male abusers to the narrator’s daughter, instead
directed as the second-person “you” spoken by the narrator to and of the
narrator. “Run into a school if a man is chasing you. Run into a church. Fall
in love / with art and mess up your dress.” she writes, to open the poem “Your
Mother’s Advice.” These are direct statements offered as wisdoms and warnings
to the self, offering as both witness and document, declaration and
exclamation. “That it was the only / thing you had to give.” she writes, as
part of the poem “What You Knew About Virginity,” “That once you handed it
over, you could never get it / back.” Alcalá writes that this is a book about
her mother, but really, this is a book about her daughter, and attempting to
clarify and come to terms with the past in order to properly communicate those
concerns, without offering trauma, to her own daughter. “In the early and
lonely days of mothering,” she writes, to open the poem “You & the Dying
Languages,” “when you felt old at forty-one, / you’d examine pictures posted of
homegrown arugula, read updates on / a chicken coop’s constructions, the
adoption of a baby goat.” The poem offers a frustration of feeling useless as a
new parent, unable to offer her daughter the language of her forebears, but in a
further poem, “Your Daughter Refashions the Flag into a Crop Top,” we see how
the narrator catches her daughter’s reactions, her confidences, writing: “Cecilia
once thought she had to choose between poetry and painting, but / she no longer
believes this and is recovering what was lost, rejected, sto- / len. To your
daughter you bequeath what was left of the flag, and reject- / ing its
unflattering form, she refashions it into a crop top to show off / her midriff.
She’s on the verge of something, that beautiful precipice.” Through a sustained
line of gestures and clear, perfect prose, Alcalá’s lyrics reach across the details
of a life for the sake of questions, lessons and survival, working to break
through cycles of inherited violence. “Because your fathers fled a dictatorship
only to set up their own,” she writes, to open the poem “While Your Fathers Did
Second Shifts,” a sentence that seems to hold the space of an entire universe
within, “and / took with them the belief that a woman shouldn’t enter a bar
unless it / was an emergency and had to use the pay phone, you shared with your
/ cousins one eyeliner pencil, applying in rearview mirrors the blackest /
breves to lower lids.” This is a collection of incredible strength and wisdom,
much of it hard-won, but one that emerges out the other side, stronger for
having not only survived, but thrived.</span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-71745645933691221512024-03-10T08:31:00.002-04:002024-03-10T09:18:36.974-04:00Touch the Donkey [a small poetry journal] : tenth anniversary sale,<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht10XZKd__H58j0Aq7zb1EVldHJ_kt7om3B3o3zzmwFHmca4tTdUfCIJ99E4bAmH5HCxQdrqVQjJrtK789C0yGPb0js36GkSAcywgDzkicQrilVxtL2oCAZObBmwyR9ELSR97DD1AzGV29reWm0RWxOMlEKy6bUeIJXQJXFr5juld0oSFlCvuvuw/s551/touch%20the%20donkey%20tenth%20anniversary%20colour.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="551" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht10XZKd__H58j0Aq7zb1EVldHJ_kt7om3B3o3zzmwFHmca4tTdUfCIJ99E4bAmH5HCxQdrqVQjJrtK789C0yGPb0js36GkSAcywgDzkicQrilVxtL2oCAZObBmwyR9ELSR97DD1AzGV29reWm0RWxOMlEKy6bUeIJXQJXFr5juld0oSFlCvuvuw/w458-h308/touch%20the%20donkey%20tenth%20anniversary%20colour.png" width="458" /></a></div><p><span style="font-size: medium;">To celebrate the <b>tenth anniversary</b> of the quarterly <b><i><a href="https://touchthedonkey.blogspot.com/" target="_blank">Touch the Donkey [a small poetry journal]</a></i></b>: <b>anyone
who subscribes (or resubscribes) anytime between now and the end of
April 2024 has the bonus option of three (3) items: three <i>Touch the Donkey </i>back
issues of your choice, OR three above/ground press (2023 or 2024)
titles of your choice (while supplies last) OR any combination thereof.</b><br /><br /><b>OR:</b> <b>copies of ten (10) different back issues for $50</b> / <b>copies of five (5) different back issues for $25</b> / <b>copies of twenty different back issues for $100</b> / while supplies last on individual issues, naturally / add $5 for US orders ; add $10 for international orders,<br /><br /><b>Issue #41 of <i>Touch the Donkey [a small poetry journal] </i>(a
slightly larger issue than usual) lands on April 15, 2024: with new
work by Julie Carr, rob mclennan, Pattie McCarthy, ryan fitzpatrick,
Conyer Clayton, Renée Sarojini Saklikar, Amanda Earl, Gil McElroy and
John Barlow.</b><br /><br /><b>2023-2024 above/ground press titles include chapbooks by: </b>Sacha
Archer, Dale Tracy, Melissa Eleftherion, Kyle Flemmer, Saba Pakdel,
Katie Ebbitt, Amanda Deutch, Phil Hall + Steven Ross Smith, Peter Myers,
Terri Witek, Pete Smith, russell carisse, Micah Ballard, Clint Burnham,
Angela Caporaso, Cary Fagan, Blunt Research Group, Gary Barwin, Lydia
Unsworth, Kyla Houbolt, Zane Koss, Ben Robinson, Colin Dardis, Aaron
Tucker, Adriana Oniță, Julie Carr + rob mclennan, Stephen Collis, Rae
Armantrout, Jason Christie, Nikki Reimer, Noah Berlatsky, Miranda
Mellis, MLA Chernoff, Marita Dachsel, Report from the fitzpatrick
Society, Kevin Stebner, Meghan Kemp-Gee, Gil McElroy, Robert van Vliet,
Stephen Cain, Geoffrey Olsen, Heather Cadsby, Evan Williams, Grant
Wilkins, nina jane drystek, Sophia Magliocca, Jennifer Baker, Karen
Massey, rob mclennan, Jérôme Melançon, Monty Reid, Jamie Hilder, George
Bowering + Artie Gold, Ryan Stearne, Brad Vogler, Andrew Gorin, <i>Report from the Pirie Society</i>, Julia Drescher, Ken Norris, Joseph Donato, Samuel Ace, Stuart Ross, Leesa Dean, <i>Report from the Reimer Society</i>, Jessi MacEachern, <i>G U E S T [a journal of guest editors] </i>#26, Jordan Davis, <i>The Peter F Yacht Club</i> #32 : 2023 VERSeFest Special, <i>Report from the Smith Society</i>,
Nick Chhoeun, Ben Jahn, William Vallières, Report from the Iijima
Society, Derek Beaulieu, Isabel Sobral Campos, Mark Scroggins, Laura
Walker, <i>Report from the Trivedi Society</i>, Nathanael O'Reilly, Lindsey Webb, Jason Heroux and Barbara Henning.<br /><br /><b>Touch
the Donkey: Canadian subscriptions $35 for five issues / American
subscriptions $40 / International subscriptions $50 / All prices in
Canadian dollars /</b><br /><br />To order, e-transfer or PayPal at at rob_mclennan (at) hotmail.com or the PayPal button at <b><a href="http://www.robmclennan.blogspot.com">www.robmclennan.blogspot.com</a></b> or <b><a href="http://www.touchthedonkey.blogspot.com">www.touchthedonkey.blogspot.com</a></b><br /><br /><a href="https://abovegroundpress.blogspot.com/2023/10/aboveground-press-2024-subscriptions.html" target="_blank">Issues are also available as part of the above/ground press annual subscription</a>.<br /><br />Because everybody loves a birthday. Who doesn’t love a birthday?<br /><br />Touch the Donkey. Everywhere you want to be.<br /><br /></span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-13140276430106399262024-03-09T08:31:00.035-05:002024-03-09T08:31:00.216-05:0012 or 20 (second series) questions with Rose McLarney<p><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjmcE6KPAAlVuDL6paEJSQg_pS53WGi3hX6hgjfNRbe-ZrkG4tXoWHjynpzqiBgr_aIRUUQcm8_FHx-MSbcxEJCWgIP4b3qA65a2Ho6ZVDYGQGRxAA1Elupa0-qweO3rcSjs2KnPQaHM4rMwM6FxsWE0WnmiIwufw6Gq7JTL1hJ5z2_IAq_Gt8w/s450/Rose%20McLarney%20(c)%20Parker%20J.%20Pfister.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="450" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjmcE6KPAAlVuDL6paEJSQg_pS53WGi3hX6hgjfNRbe-ZrkG4tXoWHjynpzqiBgr_aIRUUQcm8_FHx-MSbcxEJCWgIP4b3qA65a2Ho6ZVDYGQGRxAA1Elupa0-qweO3rcSjs2KnPQaHM4rMwM6FxsWE0WnmiIwufw6Gq7JTL1hJ5z2_IAq_Gt8w/w442-h354/Rose%20McLarney%20(c)%20Parker%20J.%20Pfister.jpg" width="442" /></a></b></div><b><a href="https://www.rosemclarney.com/" target="_blank">Rose McLarney’s</a> </b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">collections of poems are <a href="https://www.penguinrandomhouse.com/books/715727/colorfast-by-rose-mclarney/" target="_blank"><i>Colorfast</i></a>,
<i><a href="https://www.penguinrandomhouse.com/books/567188/forage-by-rose-mclarney/" target="_blank">Forage</a></i>, and <a href="https://www.penguinrandomhouse.com/books/316512/its-day-being-gone-by-rose-mclarney/" target="_blank"><i>Its Day Being Gone</i></a>, from Penguin Poets, as well as <i><a href="https://fourwaybooks.com/site/the-always/" target="_blank">The Always Broken Plates of Mountains</a></i>, published by Four Way Books. She is
coeditor of <i><a href="https://ugapress.org/book/9780820356242/a-literary-field-guide-to-southern-appalachia/" target="_blank">A Literary Field Guide to Southern Appalachia</a></i>, from
University of Georgia Press, and the journal <i><a href="http://www.southernhumanitiesreview.com/" target="_blank">Southern Humanities Review</a></i>.
Rose has been awarded fellowships by MacDowell and Bread Loaf and Sewanee
Writers’ Conferences; served as Dartmouth Poet in Residence at the Frost Place;
and is winner of the National Poetry Series, the Chaffin Award for Achievement
in Appalachian Writing, and the Fellowship of Southern Writers’ New Writing
Award for Poetry, among other prizes. Her work has appeared in publications
including <i>American Poetry Review</i>, <i>The Kenyon Review</i>, <i>The
Southern Review</i>, <i>New England Review</i>, <i>Prairie Schooner</i>, <i>Orion</i>,
and <i>The Oxford American</i>. Currently, she is professor of creative writing
at Auburn University.</span><p></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">1 - How did your first book change your life? </span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I signed the contract
for my first book, <i>The Always Broken Plates of Mountains </i>(Four Way
Books), right after graduating from the Warren Wilson MFA Program for Writers
and that must have been part of why I was chosen for a teaching fellowship in
the college’s undergraduate program. That teaching experience led me to apply
for more academic jobs, to be hired for some of them, and to move to all over
the country. <i>The Always Broken Plates of Mountains</i> was largely about
fidelity to place, so it’s sort of perverse that it was the reason I left my
job with the Appalachian Sustainable Agriculture Project, family, and property.
But the positive spin is that this is a case of one love leading me to others. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Also, my partner in
these repeated relocations was <a href="https://justingardiner.net/about-2/" target="_blank">Justin Gardiner</a>, a fellow writer I met while
teaching at Warren Wilson, and surviving uncertainties together led to
marriage, and a strong fidelity between us.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">2. How does your most recent work compare to your <a style="mso-comment-date: 20240114T1238; mso-comment-reference: RM_1;"><span style="mso-comment-continuation: 2;">previous</span></a></span></b><span style="mso-comment-continuation: 2;"><span class="MsoCommentReference"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></span></span><span class="MsoCommentReference"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a class="msocomanchor" href="#_msocom_2" id="_anchor_2" name="_msoanchor_2"></a></span></span><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">? </span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The book of mine that
most stands apart from the others is <i>Forage </i>(Penguin, 2019), my third
book. While my other books center on Appalachia, <i>Forage</i> is more about my
current location, the Deep South, and the environment at large. And I put greater
effort into <i>Forage</i> than anything else I’ve ever done. <i>Colorfast</i>,
my fourth and newest book, forthcoming from Penguin in March 2024, is a bit of
a return and I didn’t write it with any illusion that it would change my
career. In it, I am again writing about the mountains where I grew up, the
subject I naturally turn to if I don’t direct myself otherwise. Yet, I am
reexamining the stories about the culture and my own girlhood I have been told
and told myself and recognizing problems such as how the perspectives of women
and others were omitted. </span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Colorfast</span></i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">’s poems are more complex in their content than my first
book’s, and they’re more advanced in their construction. My lines and stanzas
are becoming more meticulously counted and shaped with each volume. <span style="mso-tab-count: 1;"> </span></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">3 - How did you come to poetry first, as opposed to, say,
fiction or non-fiction?</span></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I’ve never had any
capacity for writing plot, conceiving of things happening. My mind wants to
stay fixed in the moment and on a particular image and idea. I remember
reading, early on, in <a href="https://poets.org/poem/politics-narrative-why-i-am-poet" target="_blank">Lynn Emmanuel’s “The Politics of Narrative: Why I Am A Poet”</a>: “</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">So please, don't ask me for a little trail of bread
crumbs to get from the smile to the bedroom, and from the bedroom to the death
at the end, although you can ask me a lot about death. That's all I like, the </span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">v</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ery beginning and the very end. I
haven't got the stomach for the rest of it.” That resonated with me, though
she’s got far more swagger than I ever will. When I began writing, I had very
little time because I was holding down jobs in other fields (and working in
some literal farm fields). Also, frugality was probably the highest virtue to
me, then. I wanted to avoid the prosey task of explaining and the waste of
words I thought it required. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Now I recognize that language in
any genre can be subtle and economical, care at least as much about musicality
as economy, and like some little flourishes. But there’s still no chance of me
writing action scenes.</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">My poems usually begin
with an impression or scrap of information jotted down in my journal. Then I
must figure out what I have to say about, what use I can make of, this material
I’ve gathered that may appear to have nothing to do with my own experiences or
be well outside areas in which I have expertise. For<i> Colorfast, </i>I mined
information from reading about gemology, archaeology, natural dying, color
theory, and linguistics, among other subjects.</span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">To start a book, I must
let myself write all sorts of poems that may seem to be of separate species,
until I can identify some larger concern or little characteristics they share.
In <i>Colorfast</i>, feminist themes were obvious from the outset, but I was
also aided in revising and sequencing by noticing details such as how often the
poems referred to hands and holding. After I have some general notions and
grace notes for a book, I can write with more purpose (and pleasure), creating
an arc for the manuscript, conversations between the poems, cohesion. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">5 - What is the best piece of advice you've heard (not
necessarily given to you directly)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">“Make do.” That advice
may have never been directly issued or verbalized to me. But it’s an aesthetic
that helped with practicalities when I was younger—such as finding the charm in
dilapidated houses and learning how to wear secondhand clothes as if I intended
a vintage look—and helps now when I begin writing projects and worry that I’ve
used up the good stuff. It’s also a sort of exemplary piece of syntax. It’s economical,
with just two words. It’s active, since both those words are verbs. And it’s a
commanding imperative.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">That said, I’m not as
rigorous as I once was and I’m recalling the New Year’s Eve when a friend
advised me to “Resolve to be less resolved.” </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">6 - How easy has it been for you to move between genres
(poetry to essays)? What do you see as the appeal?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I <i>have</i> written
what may be a full-length manuscript of lyric essays. (I’ve been letting them
sit, so I can come back and assess them with more objectivity.)<span style="mso-spacerun: yes;"> </span>It has <i>not</i> been easy. Transitions are
the problem—and I mean not just between genres, but between paragraphs and
parts. As I said earlier, I’m wary of—bored by—explication and exposition. So,
I’ve aspired to write prose with a line of reasoning running underneath, but
that, on the surface, leaps and seems to move from point to point by following
elements such as alliteration or off-rhyme as much as by argument. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I took on the
challenge of writing prose because I had information from research that was too
cumbersome for poems to carry. Because there’s the possibility that people who
don’t read poetry will give an essay a chance (though they’ll find my essays
can actually be more heady than my poems). And, well, because I’ve completed
four books of poetry and it was a challenge. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">7 - What kind of writing routine do you tend to keep, or do
you even have one? How does a typical day (for you) begin?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I start each morning
by looking out the window before I let my eyes turn to any printed words or
screens. Then, I try to see that the first thing I read is a poem. Then, I
write something down in my journal—not any sort of narrative or record of
events, just an observation. For instance, my last two journal entries are
quotes from an overheard conversation between airport bartenders and an
architectural text. Then, I go running and try to think about how what I’ve
written in my journal or drafted the previous day (though that’s gotten more
difficult as I’ve gotten older and more injured and have started to have to
think about the form of my body and the running itself). I will try to make
some revisions or expansions over breakfast.<span style="mso-spacerun: yes;">
</span></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">If I am not going to
campus to teach or attending to other errands, I’ll work on typed drafts until
noon. It’s useful to me to have that cut-off point so that I don’t stick
relentlessly, as I am prone to do, to a draft that isn’t going to amount to
anything in the end, and so I don’t feel guilty about the laundry I’m not
hanging and email I’m not answering—yet.<span style="mso-spacerun: yes;">
</span>(If you send me an email, I’ll answer you the same day, but not until
the afternoon.)</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">8 - What fragrance reminds you of home?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The house Justin and I
share often smells like kafir lime leaves or cardamom or ginger. He mortar and
pestle pounds roots and spices into curry pastes. I am heavy handed with any
spice available and like to improvise cultural mutt meals.<span style="mso-spacerun: yes;"> </span>(To be honest, a person who does not have our
callous palettes may be greeted at the door with a cloud of air peppery enough
to make them choke.) </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Underneath those
fragrances, there are notes of antique furniture--my grandparents’ and great
grandparents’ old possessions I’ve drug around with me—and his many books. I’m
glad you asked this question because the first portion of <i>Colorfast </i>has
a setting like my childhood home and deals with problematic relationships with
men. I appreciate a chance to mention my current home and the love poems, after
a reader makes it through the harder sections, in the latter part of the
collection.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">9 - 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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Nature and biology
inform most of my work. I have no scientific training or taste for precise
figures and facts as firm answers. But I like to ask questions such as why snow
melts around trees, where it’s shaded, before it melts in open fields; some
dead-looking leaves stay on tree branches into winter; and fossils form in some
soils and not others.<span style="mso-spacerun: yes;"> </span>Those inquiries
became poems in <i>Colorfast. </i></span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I have published a few
ekphrastic poems, yet I’ve probably written as many about the hushed atmosphere
of museums—modern people exhibiting their most reverent behavior—as I have the
actual art. And I may not have written any poems focused on music. Yet other
art forms undoubtedly influence my writing. My musical tastes, for example, are
much edgier and more diverse than the kind of poem it is easiest for me to
generate. Music has inspired me to allow for some experimentation, dissonance,
and noise in poems. In particular, musicians such as <a href="https://www.imdb.com/name/nm0646165/" target="_blank">Will Oldham</a>, who makes
folksy songs weird, innovative, and utterly his own, prompted me to avoid
cliches associated with writing about rural America. (<a href="https://largeheartedboy.com/2024/03/05/rose-mclarneys-playlist-for-her-poetry-collection-colorfast/" target="_blank">You can read more of my thoughts on music and
listen to a playlist I </a></span><a href="https://largeheartedboy.com/2024/03/05/rose-mclarneys-playlist-for-her-poetry-collection-colorfast/" target="_blank"><span class="MsoCommentReference"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"><span></span></span></span></a><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><a href="https://largeheartedboy.com/2024/03/05/rose-mclarneys-playlist-for-her-poetry-collection-colorfast/" target="_blank">put together at <i>Largehearted Boy</i></a>.)</span><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">10- 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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Veterinarians have
told me I should be a vet. I’m not squeamish in the least and I have much more
patience for and rapport with animals than the average human. I doubt I would <i>enjoy</i>
the job, since vets meet animals when they’re distressed. And it’s an awfully
non-verbal alternative for a poet to choose. But at least I might be competent
at it and I suppose both vocations involve plenty of perceiving of emotion and
reading of implication and tone. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I am more certain of
the job at which I’d be worst: valet. I hate cars and driving, and being
entrusted with (presumably) rich people’s fancy cars would wreck me. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">11 - What was the last great book you read? What was the last
great film?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I read so much poetry
that it’s hard for me to choose one book to mention. So I’ll tell you the last
novel that I loved: <a href="https://www.graywolfpress.org/books/milkman" target="_blank"><i>Milkman</i> by Anna Burns</a>. It is set in Northern Ireland
during The Troubles, and addresses political and cultural issues present in
other countries and communities too, in some of the most colorful and original
prose I’ve encountered. I admire how elements of the style—never giving
anyone’s proper name, for instance—aren’t only artistic touches, but tied to
the psychology of the people in the story, who must keep many secrets because
they are under constant surveillance. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The film that’s stayed
on my mind recently is <i><a href="https://www.imdb.com/title/tt0094868/?ref_=nv_sr_srsg_4_tt_6_nm_1_q_chocolat" target="_blank">Chocolat</a>,</i> directed by Claire Denis and set in
Cameroon (<i>not</i> the Johnny Depp movie). It’s from the ‘80s and, obviously,
not American, but its commentary on race relations felt very relevant and its
approach original. My husband found the film because <a href="https://www.graywolfpress.org/books/citizen" target="_blank">Claudia Rankine references
the director in <i>Citizen</i></a> and <i>Chocolat</i>’s artful final scene, which
left me with much to contemplate, felt like the conclusion of one of those
great poems that open out to more thoughts rather than closing down with a
pronouncement. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">12 - What are you currently working on?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I already noted that I
have been writing a collection of lyric essays. But, with my new poetry book
just about to come out, it’s not the time for another publication. And I am trying
to put aside the validation of having the essays readily accepted by journals
and learn to gauge for myself what <i>finished</i> really is for my prose,
since I’m a beginner in the genre. </span></p>
<p class="MsoNoSpacing"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">I am also composing
new poems, because there will be a fifth collection someday. In order to help
me get out of essay mode and back to poetry, I assigned myself to draft without
any capital letters or punctuation. This is hardly revolutionary, I know. Many
poets have written in this manner, including <a href="https://www.poetryfoundation.org/poets/ellen-bryant-voigt" target="_blank">Ellen Bryant Voigt</a> in her
wonderfully refreshing <a href="https://wwnorton.com/books/9780393350005" target="_blank"><i>Headwaters</i></a>. But it’s a huge shift for me and, so
far, these poems are more fun than what I usually produce. That said, they
can’t contain as much information as essays and they don’t yet have the
intricate craftmanship I tried to achieve in <i>Colorfast </i>and my other
collections.<span style="mso-spacerun: yes;"> </span>Maybe a current project
should be remembering to celebrate <i>Colorfast</i> when it is finally in print
and, rather than newness of style, the quality of endurance that is often what
the poems are about.</span></p>
<p class="MsoNoSpacing"><i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a></span></i></p>
<div style="mso-element: comment-list;"><hr align="left" class="msocomoff" size="1" width="33%" /></div>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-2370179754978215682024-03-08T08:31:00.002-05:002024-03-08T08:31:00.137-05:00VERSeFest : Ottawa's International Poetry Festival, March 21-24, 2024 :<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp2nmT7gGK0w2_32BwWHHUp52ONvfUcYIsMu57gGBjkner992qYO37-LZtvFI-2IQQHiGpuh4Wu-GziwrIC2YU_gCI8lD5FtCXgnb7cLgjfG5TBNYrDegePlxvbEUK1fCvbbwDNsidJI58GC23sOkZcMC1NqmMFInk4sTpXe1Oc0_9XX2PeNnkA/s2097/versefest%202024%20logo.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="2097" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp2nmT7gGK0w2_32BwWHHUp52ONvfUcYIsMu57gGBjkner992qYO37-LZtvFI-2IQQHiGpuh4Wu-GziwrIC2YU_gCI8lD5FtCXgnb7cLgjfG5TBNYrDegePlxvbEUK1fCvbbwDNsidJI58GC23sOkZcMC1NqmMFInk4sTpXe1Oc0_9XX2PeNnkA/w485-h197/versefest%202024%20logo.png" width="485" /></a></span></div><span style="font-size: large;"><b><a href="https://www.verseottawa.ca/en/versefest" target="_blank">VERSeFest, Ottawa's International Poetry Festival, returns for our fourteenth glorious year of events</a>.</b></span><span style="font-size: medium;"><br /><br />This year's festival, as part of our ongoing rebuilding year, will feature a wide range of award-winning performers in English and French.<br /><br />A mix of readings and performances will allow participants and poets to gather once more under the roofs of some iconic Ottawa establishments. <a href="https://www.verseottawa.ca/en/versefest" target="_blank">Read on for full location details.</a><br /><br />At this year's festival, poets/performers will have copies of their books/chapbooks/cds on hand to sell. Please support them directly!<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgggRz4agJKCOO_HbhjMpSu53Q8sWxRW4yy0g_yzUZXpV3XLpZqzKe_I0-3WrsAzjov_kLSoANywB5bJt1w6fyH65_pugWglUe_5gw7eT55t0pag8qFAsW8qXo8vnPBPXg58X0G2oGwogw82leoo-DtKLN1QWOAGLBxIlxytlC2iUEGZXKSBWtttg/s1024/PHOTO-2022-03-03-22-05-45.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="447" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgggRz4agJKCOO_HbhjMpSu53Q8sWxRW4yy0g_yzUZXpV3XLpZqzKe_I0-3WrsAzjov_kLSoANywB5bJt1w6fyH65_pugWglUe_5gw7eT55t0pag8qFAsW8qXo8vnPBPXg58X0G2oGwogw82leoo-DtKLN1QWOAGLBxIlxytlC2iUEGZXKSBWtttg/w335-h447/PHOTO-2022-03-03-22-05-45.jpg" width="335" /></a></div>Thursday, March 21, 2024: Avant-Garde Bar, 135 Besserer Street, 7pm</b><br />Anita Lahey, Monty Reid, Marjorie Silverman, Laila Malik [pictured]<br /> hosted by Jennifer Baker / <i>Arc Poetry Magazine</i>, <br />Daniel Groleau Londry, nina jane drystek, MayaSpoken<br /> hosted by Allison Armstrong<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSHE_Op1Dq35ahk_aWZZDerLwplau3rBpCXf9hyCACuwR_cjywoJl-hHnXHjNAA8OaGXfDc3c_wYtadEHBzA10ZCdt0G3QL6rPN8wlE-AWvjOtQFiwEgr6ZxjJLRAM3VPcVLOqrx5hu0mwMHoS11SjBlWOZAyMglD0nJ9PgmVg87BhssFFIh4s3g/s5410/Sneha-28.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3607" data-original-width="5410" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSHE_Op1Dq35ahk_aWZZDerLwplau3rBpCXf9hyCACuwR_cjywoJl-hHnXHjNAA8OaGXfDc3c_wYtadEHBzA10ZCdt0G3QL6rPN8wlE-AWvjOtQFiwEgr6ZxjJLRAM3VPcVLOqrx5hu0mwMHoS11SjBlWOZAyMglD0nJ9PgmVg87BhssFFIh4s3g/w335-h223/Sneha-28.jpg" width="335" /></a></div>Friday, March 22, 2024 : Happy Goat, 35 Laurel Street, 8pm</b><br />Amanda Earl, DS Stymiest, IAN MARTIN, Mary Lee Bragg<br /> hosted by Stephen Brockwell<br />Susan McMaster, Sneha Madhaven-Reese [pictured], Shane Rhodes<br /> hosted by rob mclennan<br /><b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVdrtBgtvVvumilZQV2Ch-wXtZmb8ufRU4H1C1frX-9FujHGUvQaTug_BV3YLPHbulO1AJCVz0VV5jadi57eVVPX1DwZbSUlJmXZGE5PgHRIdGaORNyVygG0OjTFKjAITH2xIcQTK9ykVOMZALc4mw2NBsLQv_XYdPMSeTt4utbe5LX5H1InZnQ/s566/Headshot%202.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="566" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVdrtBgtvVvumilZQV2Ch-wXtZmb8ufRU4H1C1frX-9FujHGUvQaTug_BV3YLPHbulO1AJCVz0VV5jadi57eVVPX1DwZbSUlJmXZGE5PgHRIdGaORNyVygG0OjTFKjAITH2xIcQTK9ykVOMZALc4mw2NBsLQv_XYdPMSeTt4utbe5LX5H1InZnQ/w334-h312/Headshot%202.png" width="334" /></a></div><br />Saturday, March 23, 2024 : Redbird, 1165 Bank Street, 8pm</b><br /><a href="https://www.simpletix.com/e/third-night-session-1-and-2-tickets-163041" target="_blank">$12 for the evening: available here</a><br />Jaclyn Piudik, Chris Turnbull, Mark Goldstein, Derek Webster<br /> hosted by rob mclennan<br />Sandra Ridley, David O’Meara, Madeleine Stratford [pictured]<br /> hosted by Zishad Lak<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgslT_5e2m1U6ksEdZhxnIbAyI6Hi7G46v8z-rEvklawXZEGfdE8Vymz5yM-lA06WM5PJlwy0t4jTAgnsUaF3Bbyy_ugHk11Q_m7lcwPsP_Y6QRKQcOwW36JMd6jGEeJ6rg305Uhl_ZYXi-l6_ht68dM2b6-l3mu18tlY-XLzCCyFUyndVdXzeyEg/s2826/Ndu-AEC_7462_edited.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2826" data-original-width="1982" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgslT_5e2m1U6ksEdZhxnIbAyI6Hi7G46v8z-rEvklawXZEGfdE8Vymz5yM-lA06WM5PJlwy0t4jTAgnsUaF3Bbyy_ugHk11Q_m7lcwPsP_Y6QRKQcOwW36JMd6jGEeJ6rg305Uhl_ZYXi-l6_ht68dM2b6-l3mu18tlY-XLzCCyFUyndVdXzeyEg/w335-h478/Ndu-AEC_7462_edited.jpg" width="335" /></a></div>Sunday, March 24, 2024: Spark Beer, 702 Somerset Street West, 8pm</b><br />AJ Dolman, Myriam Legault-Beauregard, Nduka Otiono,<br /> hosted by Madeleine Stratford<br />Jason Christie, Klara du Plessis+ Khashayar “Kess” Mohammadi<br /> hosted by rob mclennan<br /></span><p></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><br /></span><span style="font-size: large;"><a href="https://www.verseottawa.ca/en/versefest" target="_blank">check out our website for further information, including full author biographies.</a></span><span style="font-size: medium;"><br />for information/queries: rob_mclennan@hotmail.com<br /></span><br /><br /></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-48027417008303717202024-03-07T08:31:00.000-05:002024-03-07T08:31:00.152-05:00Spotlight series #95 : Adriana Oniță<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEXtJ85Ife6Ib0dtp2VT7Ye41_tGlI6flgn_JAxz5OQgDaEEx072_BoAByFa5syiYoZJCLosnEGYBNsFTTBxRVdejaaBH6nut1CF-tHAq7ZAkKivzFAxJrVutzF1CSENxB0tHoOBzX4UdP2BrndUti4iE0g7gru5i3_9QgxsHkBlFNgr7qnwuJ5A/s5674/Adriana-56%20(3).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3788" data-original-width="5674" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEXtJ85Ife6Ib0dtp2VT7Ye41_tGlI6flgn_JAxz5OQgDaEEx072_BoAByFa5syiYoZJCLosnEGYBNsFTTBxRVdejaaBH6nut1CF-tHAq7ZAkKivzFAxJrVutzF1CSENxB0tHoOBzX4UdP2BrndUti4iE0g7gru5i3_9QgxsHkBlFNgr7qnwuJ5A/w503-h337/Adriana-56%20(3).jpg" width="503" /></a></b></div><a href="https://robmclennan.medium.com/spotlight-series-95-adriana-oni%C8%9B%C4%83-b649ba8a5a9c" target="_blank"><b>The ninety-fifth in my monthly "spotlight" series, each featuring a
different poet with a short statement and a new poem or two, is now
online, featuring Edmonton/Sicily-based poet, educator, translator, researcher, editor and publisher </b><b>Adriana Oniță [photo credit: Shawna Lemay].</b></a><br />
<b><br /></b>
The
first eleven in the series were attached to the Drunken Boat blog, and
the series has so far featured poets including Seattle, Washington poet
Sarah Mangold, Colborne, Ontario poet Gil McElroy, Vancouver poet Renée
Sarojini Saklikar, Ottawa poet Jason Christie, Montreal poet and
performer Kaie Kellough, Ottawa poet Amanda Earl, American poet
Elizabeth Robinson, American poet Jennifer Kronovet, Ottawa poet Michael
Dennis, Vancouver poet Sonnet L’Abbé, Montreal writer Sarah Burgoyne,
Fredericton poet Joe Blades, American poet Genève Chao, Northampton MA
poet Brittany Billmeyer-Finn, Oji-Cree, Two-Spirit/Indigiqueer from
Peguis First Nation (Treaty 1 territory) poet, critic and editor Joshua
Whitehead, American expat/Barcelona poet, editor and publisher Edward
Smallfield, Kentucky poet Amelia Martens, Ottawa poet Pearl Pirie,
Burlington, Ontario poet Sacha Archer, Washington DC poet Buck Downs,
Toronto poet Shannon Bramer, Vancouver poet and editor Shazia Hafiz
Ramji, Vancouver poet Geoffrey Nilson, Oakland, California poets and
editors Rusty Morrison and Jamie Townsend, Ottawa poet and editor Manahil Bandukwala,<span style="font-family: "garamond" , "serif";"> </span>Toronto
poet and editor Dani Spinosa, Kingston writer and editor Trish
Salah, Calgary poet, editor and publisher Kyle Flemmer, Vancouver poet
Adrienne Gruber, California poet and editor Susanne Dyckman, Brooklyn
poet-filmmaker Stephanie Gray, Vernon, BC poet Kerry Gilbert, South
Carolina poet and translator Lindsay Turner, Vancouver poet and
editor Adèle Barclay, Thorold, Ontario poet Franco Cortese, Ottawa poet
Conyer Clayton, Lawrence, Kansas poet Megan Kaminski, Ottawa poet and
fiction writer Frances Boyle, Ithica, NY poet, editor and publisher
Marty Cain, New York City poet Amanda Deutch, Iranian-born and
Toronto-based writer/translator Khashayar Mohammadi, Mendocino County
writer, librarian, and a visual artist Melissa Eleftherion, Ottawa poet
and editor Sarah MacDonell, Montreal poet Simina Banu, Canadian-born
UK-based artist, writer, and practice-led researcher J. R. Carpenter,
Toronto poet MLA Chernoff, Boise, Idaho poet and critic Martin
Corless-Smith, Canadian poet and fiction writer Erin Emily Ann Vance,
Toronto poet, editor and publisher Kate Siklosi, Fredericton poet
Matthew Gwathmey, Canadian poet Peter Jaeger, Birmingham, Alabama poet
and editor Alina Stefanescu, Waterloo, Ontario poet Chris Banks, Chicago
poet and editor Carrie Olivia Adams, Vancouver poet and editor
Danielle Lafrance, Toronto-based poet and literary critic Dale Martin
Smith, American poet, scholar and book-maker Genevieve Kaplan,
Toronto-based poet, editor and critic ryan fitzpatrick, American poet
and editor Carleen Tibbetts, British Columbia poet nathan dueck,
Tiohtiá:ke-based sick slick, poet/critic em/ilie kneifel, writer,
translator and lecturer Mark Tardi, New Mexico poet Kōan Anne Brink,
Winnipeg poet, editor and critic Melanie Dennis Unrau, Vancouver
poet, editor and critic Stephen Collis, poet and social justice coach
Aja Couchois Duncan, Colorado poet Sara Renee Marshall, Toronto
writer Bahar Orang, Ottawa writer Matthew Firth, Victoria poet Saba
Pakdel, Winnipeg poet Julian Day, Ottawa poet, writer and performer
nina jane drystek, Comox BC poet Jamie Sharpe, Canadian visual artist
and poet Laura Kerr, Quebec City-area poet and translator Simon
Brown, Ottawa poet Jennifer Baker, Rwandese Canadian Brooklyn-based
writer Victoria Mbabazi, Nova Scotia-based poet and facilitator Nanci
Lee, Irish-American poet Nathanael O'Reilly, Canadian poet Tom Prime,
Regina-based poet and translator Jérôme Melançon, New York-based poet
Emmalea Russo, Toronto-based poet, editor and critic Eric Schmaltz, San
Francisco poet Maw Shein Win, Toronto-based writer, playwright and
editor Daniel Sarah Karasik, Ottawa poet and editor Dessa Bayrock,
Mahone Bay, Nova Scotia poet Alice Burdick, poet, writer and editor
Jade Wallace, San Francisco-based poet Jennifer Hasegawa, California poet Kyla Houbolt, Toronto poet and editor Emma Rhodes and Canadian-in-Iowa writer Jon Cone.<br /> <br />
<a href="https://medium.com/@robmclennan"><b>The whole series can be found online here</b></a><b>.<br /></b><b><br /><br /></b><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-36352245853259228862024-03-06T08:31:00.046-05:002024-03-06T09:42:42.710-05:0012 or 20 (second series) questions with Michael B. Tager<p></p><blockquote><p><!--[if gte mso 9]><xml>
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Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
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</p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm;"><b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN-6bgeNSmcQZIjARknszqEiSyFU4ryrPptiOIU7AH98pshjwjRlFWL9EKYYIAJVqX20bMSsq69Gyok3YPV1pvqTLIqXxxvuB_iNqoStQQc2Ww_XZXhfWRDm7qGoSvYwuZPmfbF2QTrSQQtpQq0VXQ3CeCk3n5WwqAI1bGijbrRKMinCxp9LAi3g/s892/Tager_Headshot%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="892" data-original-width="614" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN-6bgeNSmcQZIjARknszqEiSyFU4ryrPptiOIU7AH98pshjwjRlFWL9EKYYIAJVqX20bMSsq69Gyok3YPV1pvqTLIqXxxvuB_iNqoStQQc2Ww_XZXhfWRDm7qGoSvYwuZPmfbF2QTrSQQtpQq0VXQ3CeCk3n5WwqAI1bGijbrRKMinCxp9LAi3g/w308-h448/Tager_Headshot%202.jpg" width="308" /></a></b></div><b><br />Michael B. Tager</b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> is stardust currently
in the form of the author of <i><a href="https://akinogapress.com/books/popculturepoetry" target="_blank">Pop Culture Poetry: The Definitive Edition</a></i>
(Akinoga Press, ’24), and Managing Editor of <a href="https://masonjarpress.com/" target="_blank">Mason Jar Press</a>.</span><p></p>
<p class="MsoListParagraphCxSpFirst" style="line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: #222222; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">1.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;">
</span></span></span></b><span lang="EN-US" style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt;"><b>How did your
first book change your life? How does your most recent work compare to your
previous? How does it feel different?</b> </span><span lang="EN-US" style="background: white; color: #222222; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The first book I "really" read
was <i><a href="https://classicaleducationbooks.ca/product/the-lion-the-witch-and-the-wardrobe/" target="_blank">The Lion, the Witch and the Wardrobe</a></i>. I was in 2nd grade and it
was like "oh, books can do this? They can transport me away entirely and
make me forget about everything else? Well I'm into that!" It was quite a
moment and I never looked back. As for how it relates to my current writing?
When I write prose, I often lean into magic and/or the unexplained. I'm a genre
boy at heart. But I tend to write more poetry these days, and poetry about pop
culture as opposed to fantasy. Maybe I'll write a thing about Turkish Delight,
or my deep confusion at Christian iconography (cause I'm Jewish and that whole
Jesus parallel went woosh over my head!)</span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: #222222; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">2.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt;">How did you
come to poetry first, as opposed to, say, fiction or non-fiction? </span></b><span lang="EN-US" style="color: #222222; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I came to poetry well
after prose! I have never taken a poetry course, either lit or writing. So the
fact that my first book is poetry is an irony not lost on me. I came to poetry
because it allows me to be weird more than prose. Maybe because I was never
taught in poetry, I don't have any bad habits that I need to break, like I do
with prose. Plus I can be really vulnerable and hide it in imagery and fun
phrases, which is harder (for me) than in prose. In fiction, I layer my
own self a bit too deep and in nonfiction I fight the vulnerability at every
single step. Poetry is a happy medium for me!<span style="background: white;"></span></span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: #222222; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">3.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;">
</span></span></span><span lang="EN-US" style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt;">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? </span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">When I'm writing--which
isn't now--I have two ways I come to writing. The first is that I have a set
time every day in which to write on current projects or on new ideas. The other
way is that when inspiration strikes, it doesn't matter what I'm doing, I have
to get a pen or a computer and just start writing as much as possible,
because I've learned that if I ignore inspiration, it goes away. Shocking
right? Now, when I get into a project, the writing comes fast-fast-fast. I've
been known to write a 5,000 word story or 10 poems in one sitting. Revising can
take longer, but first drafts? That's not slow at all. </span><span lang="EN-US" style="background: white; color: #222222; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: #222222; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">4.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;">
</span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>Where does a poem or work of prose 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?</b> <b>Skipped</b></span><span lang="EN-US" style="background: white; color: #222222; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: #222222; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">5.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;">
</span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>Are public readings part of or counter to your creative process?
Are you the sort of writer who enjoys doing readings?</b> I like performing! I have
minors in theater and speech communication, I have done dance performances and
debate, I've given presentations at conferences and trainings. I like karaoke
and I've done weird experimental art exhibits. So, performing isn't a barrier
to me. It isn't part of my process or anything, and I don't write for the
performance, but I enjoy giving readings. I don't like what <i>leads up</i> to
the reading (because stage fright and general introvertedness) but once I'm on
stage, it's all downhill. </span><span lang="EN-US" style="background: white; color: #222222; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">6.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>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? </b>I'm
trying to get back to the weirdo I was when I first began writing. That sense
of fun and play that MFA and general adulthood beat out of me. It's why I am
drawn more to poetry these days; it's the genre I have the least experience in
and by far the least training. I'm able to access that "fuck it"
mentality that eludes me in prose. So while I don't have any particular
concerns or theoretical roots that I'm exploring, I do have a goal, which is to
capture that childhood uniqueness. </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">7.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What do you see the
current role of the writer being in larger culture? Do they even have one? What
do you think the role of the writer should be? </b>Writers are artists and artists
are the soul of culture. No one remembers Odysseus because of his awesomeness,
we remember him because a dope ass book was written. Without artists, there's
no memory. You're welcome, world. </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">8.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>Do you find the process
of working with an outside editor difficult or essential (or both)?</b> I LOVE
working with an editor and I find it easy as pie. Possibly because I'm an
editor, but also because I love collaboration and I love people telling me how
to make my stuff better. Improve me, daddy! </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">9.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What is the best piece
of advice you've heard (not necessarily given to you directly)?</b> I was at an SF
&F panel when I was a baby writer and they were all smart genre writers
talking. One jabroni in the audience asked about money and you could feel the
panelists' eyes rolling. one of them said something along the lines of there's
three reasons to me to write. The first is because you want to get
paid--in which case you should just follow the career paths and writing styles
of Stephen King or <a href="https://www.jodipicoult.com/" target="_blank">Jodi Picoult</a> or something, or just write cookbooks. The
second is because you only feel the need to write and create--in which case who
cares about money--or even being published. The last--and the reason I write
and probably my colleagues--is because you want people to read you and think
about what you think. We like money and we'd like to make a full living by
this, but it's not the main concern. So, my advice is to figure out why you're
writing and go from there. Don't start at the money. </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">10.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>How easy has it been for
you to move between genres (poetry to prose)? What do you see as the appeal?</b> Pretty easily! One thing leads to another and being
around brilliant creative people gives ideas and thoughts that I want to try.
Plus, I get bored and need to experiment or I lose my mind. But I also find
that one informs the other. My poetry makes my prose prettier, my fiction makes
my nonfiction (incidentally my least favorite genre and one I really only do
these days when paid) more interesting, my nonfiction helps me get to the point
in my fiction, and the prose helps me keep my head out of my ass with poetry.
It's a circle. </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">11.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What kind of writing
routine do you tend to keep, or do you even have one? How does a typical day
(for you) begin?</b> Well, I'm not writing at all now since I have kids and two
jobs and a press but eventually that'll change. <b>(answered routine
question above)</b></span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">12.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>When your writing gets
stalled, where do you turn or return for (for lack of a better word)
inspiration? </b>Either physical activity in order to
empty my brain of all the stuff clogging it: working out, walking, dancing,
etc., or other forms of entertainment. By that I mean video games, movies, card
games like Magic the Gathering, and stuff like that. I've written several
stories inspired by video games, for example. Get the inspiration from other
places! </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">13.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What fragrance reminds
you of home? What fragrance reminds you of home?</b> I'm more triggered by physical
sensations than smell, so also the weight of light jackets, warm sun and chill
breeze, walking for hours without sweating or shivering. Yeah, that's the
stuff. </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">14.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>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?</b> (<b>see 12)</b></span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">15.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What other writers or
writings are important for your work, or simply your life outside of your work?
What other writers or writings are important for your work, or simply your life
outside of your work? </b>My favorite book is <a href="https://www.davidbrin.com/startiderising.html" target="_blank"><i>Startide Rising</i> by
David Brin</a>, which is hard sci fi about space dolphins. I love pulpy fantasy and
detective stories. I cut my teeth on <i><a href="https://en.wikipedia.org/wiki/List_of_Dragonlance_novels" target="_blank">Dragonlance</a></i> and early
<a href="https://stephenking.com/index.html" target="_blank">Stephen King</a>. in other words, given the choice between never reading literary
fiction or genre fiction again, I'd be like "fuck you lit fiction."
Even though I primarily write lit fiction and poetry, I get most of my
inspiration from other venues.</span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">16.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What would you like to
do that you haven't yet done?</b> <b>skipped</b></span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">17.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>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?</b> If and when I
switch careers again, I'm going into hospitality. Being a concierge, or making events
at a hotel (weddings, cons, whatever) would be my jam. I'm good at it! </span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">18.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What made you write, as
opposed to doing something else?</b> I don't know. Does anyone know? I'm just
biding my time on this earth until I die and writing makes me happy. I’m
an optimistic nihilist: nothing matters, so let’s have fun and make everything
brighter and cheerier before the void swallows us whole. I like writing, I’m
good at it, I recognized that early so I guess fuck it let’s write some books?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">19.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What was the last great
book you read? What was the last great film? </b>I haven't read a book in two years
but the best storytelling I've read is the video games <a href="https://hades.fandom.com/wiki/Hades_(game)" target="_blank">Hades</a>. It's a rogue-like
wherein each game is different, and it's designed to kill the hell out of you.
In between deaths, you talk to characters from Greek myth like Thanatos,
Persephone, Hades (duh), Cerberus, Achilles, the Furies, and so on. The
backstories, romances, subversions of myth that are parsed out over 50-100
hours are absolutely brilliant. Video games have become art. It's a
fact. As for film, you don't really want to open that can of worms. I can
go on. But, ummmm, <i><a href="https://www.imdb.com/title/tt0099810/" target="_blank">Hunt for Red October</a></i> was pretty baller. I missed it when it
came out and so watched it. It was dope. </span></p>
<p class="MsoListParagraphCxSpLast" style="background: white; line-height: normal; margin-bottom: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><b><span lang="EN-US" style="color: black; font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">20.<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-optical-sizing: auto; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal;"> </span></span></span></b><span lang="EN-US" style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><b>What are you currently
working on?</b> NOTHING! I have two kids, my parents now live with me, two jobs, a
semblance of a social life, a wife, and a press that I run (which satisfies
most of my artistic cravings). When the baby goes to day care and my wife
goes back to (paid) work so I can decrease my hours, I'll probably write again.
Until then, I have no guilt at not writing. </span></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a><br /><br /></span></i></p></blockquote><p class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;"></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-29690091555011447572024-03-05T08:31:00.022-05:002024-03-05T09:28:35.901-05:00Khashayar “Kess” Mohammadi, Daffod*ls<p> <!--[if gte mso 9]><xml>
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</p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I have no space for
humility</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">lets manifest destiny
ourselves out of poverty</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">let’s lift ourselves out
from poetry and</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">sit in penthouses</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">lets steal w*ne in the name
of c*vil d*sobedience</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">and sit on the bed-bug
smeared mattress</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">reading WALDEN arm in arm</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">until friends leave</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">until everyone</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">and everyone</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">moves out<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxv0RACZAc7ELoi4A0D7737VRdHa5fd1Ttl3wqh1X4QxWqw_NSfFXsy20H_bWohCmh9QpYJQZhk7oDOnnvdWhojSqF6Zd4VVLW_ZvSV6OitI1hbyow7MFHPT34s_vNxSbuucxb-VR6RVAc1gTthHmo01swL7EhB13xDcL7sk6p9rPvqyVLBByDpQ/s2405/daffodls.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2405" data-original-width="1746" height="525" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxv0RACZAc7ELoi4A0D7737VRdHa5fd1Ttl3wqh1X4QxWqw_NSfFXsy20H_bWohCmh9QpYJQZhk7oDOnnvdWhojSqF6Zd4VVLW_ZvSV6OitI1hbyow7MFHPT34s_vNxSbuucxb-VR6RVAc1gTthHmo01swL7EhB13xDcL7sk6p9rPvqyVLBByDpQ/w380-h525/daffodls.jpg" width="380" /></a></div>I’ve
been increasingly interested in what <a href="https://www.pamenarpress.com/" target="_blank">UK-based international publisher Pamenar Press</a> has been
producing lately (<a href="https://periodicityjournal.blogspot.com/2023/09/rob-mclennan-letters-inscribed-in-snow.html" target="_blank">see my review of the Laynie Browne trio from last year, which included a title they produced</a>), and the latest I’ve seen is by Toronto-based
poet, writer and translator <a href="https://www.khashayarmohammadi.com/" target="_blank">Khashayar “Kess” Mohammadi</a>, the book-length suite <i><a href="https://www.pamenarpress.com/product-page/daffod-ls" target="_blank">Daffod*ls</a></i>
(Pamenar Press, 2023). This is Mohammadi’s third full-length collection,
following <i><a href="https://www.gordonhillpress.com/products/me-you-then-snow" target="_blank">Me, You, Then Snow</a></i> (Guelph ON: Gordon Hill Press, 2021) [<a href="https://robmclennan.blogspot.com/2021/04/khashayar-mohammadi-me-you-then-snow.html" target="_blank">see my review of such here</a>] and the dos-a-dos <a href="https://www.gordonhillpress.com/products/wjd" target="_blank"><i>WJD</i> conjoined with <i>The
OceanDweller</i>, by Saeed Tavanaee Marvi, trans. from the Farsi by Mohammadi</a> (Gordon
Hill Press, 2022) [<a href="https://periodicityjournal.blogspot.com/2023/01/rob-mclennan-wjd-by-khashayar-mohammadi.html" target="_blank">see my review of such here</a>]. Mohammadi is also <a href="https://palimpsestpress.ca/books/g-klara-du-plessis-and-khashayar-kess-mohammadi/" target="_blank">the author of
the recent and collaborative <i>G</i> with Klara du Plessis</a> (Palimpsest Press,
2023), and already has a fifth full-length poetry collection, <i>Book of
Interruptions</i>, scheduled for fall 2025 with Wolsak and Wynn. Structured very
different than his first two collections, both of which suggest chapbook-length
works conjoined into a larger unit, <i>Daffod*ls</i> is composed as a
book-length suite, moving and flowing as a single unit of individual, accumulated
lyric sections. The shift is interesting to witness, and one many poets have done
over the years (I think back to <a href="https://www.amazon.ca/Asphalt-Cigar-Kevin-Connolly/dp/0889104697" target="_blank">Toronto poet Kevin Connolly’s infamous debut <i>Asphalt
Cigar</i></a>, for example), watching in real time as a poet’s attention expands beyond
the chapbook and into the collection. Set as an assemblage of slightly surreal
first-person observations, musings and commentaries, <i>Daffod*ls</i> is a book-length
lyric suite across more than a hundred pages of sweep and nuance, offering an
expansive gesture into history, time and language. There’s a heft here, one
that requires careful, repeated readings, even through what at times might
appear a kind of rush. Through the space of <i>Daffod*ls</i>, Mohammadi utilizes
the lyric form and space as a means of study, through which to explore the
collisions, contusions and conflicts that emerge through the eyes of a narrator
situated within and between two weighty world cultures. “I miss behind firmly sat
in the middle of a patch of dirt you / can claw into. Its finished. skyscrapers
no longer scrape the / sky. clouds have all moved out of our town. I used to
write / differently so speak to me NOW, through the noise my hand / is
piercing. you’ve got the right idea, sitting with coffee table / magazines and
tuned into classical music.” There’s something of the inconsistent puncutations
and capitalizations, and the asterisks, also, that provide a particular kind of
immediacy, propelling the lines across the page, offering an urgency to these
explorations, these declarations.<p></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">brace for the itch<br />brace for all the itches!<br />when I came here there
were still thoughts here<br />dear Daffod*ls:<br />WHAT IS THE EASIEST WAY
TO AVOID SWEETNESS<br /><span style="mso-tab-count: 3;"> </span><span style="mso-spacerun: yes;"> </span>there’s this practice of restraint<br /><span style="mso-tab-count: 3;"> </span><span style="mso-spacerun: yes;"> </span>honed only in teeth<br /><span style="mso-tab-count: 3;"> </span><span style="mso-spacerun: yes;"> </span>the soil that cultivates<br /><span style="mso-tab-count: 4;"> </span><span style="mso-spacerun: yes;"> </span>b*tter ol*ves</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I’m
curious at Mohammadi’s use of the asterisk, switching out the letter “i” from words
for reasons not entirely clear to my reading. I’m reminded of <a href="https://talonbooks.com/books/?pacific-windows" target="_blank">Roy Kiyooka’s</a> use
of the word “inglish,” offering a shifted perspective on a language not his
first, and one approached with and through caution, aware of the cultural baggage
held by his adopted language. Through Mohammadi, the shift is visual above all,
and one might wonder if this might be a play on the narrative “I,” the
suggestion of a forceful presence even through the absence; what can neither be
removed or completely obscured. And yet, Mohammadi switches out the letter only
within words, not solo, so the effect is predominantly visual, suggesting
highlight or even a kind of drift, beyond pure language. Might this be a daffodil
set within the very word? “I swear,” Mohammadi writes, fairly early in the
collection, “I’m reading up on pedagogy / and by the discussion / I promise I will
understand! / and subtitled with an aster*sk / is a muddy delta of sedimented
thoughts / with my cat / nibbling on my toes / and hands / Infinite in their
capacity for wonder [.]”</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I attest: half my words
have disappeared from the dictionary</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">so I guess this is my
language now</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">whats up?</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">whats wrong?</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">whaddya need now?</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I don’t have space right
now</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"><br /></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-47532834011248878412024-03-04T08:31:00.015-05:002024-03-04T08:31:00.144-05:00Klara du Plessis, I’mpossible collab<p> <!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">“There isn’t a full stop
anywhere,” [Dionne] Brand writes in “Verso 14” of <a href="https://www.penguinrandomhouse.ca/books/562935/the-blue-clerk-by-dionne-brand/9780771001543" target="_blank"><i>The Blue Clerk</i></a>. “But
what do you need a full stop for? You have the end of the line. The full stop is
irrelevant. A full stop is really not even a point to discuss. Why discuss a
full stop when you have a line? A line ends, and that is what that is.” In contrast
to narrative, which Brand feels needs a full stop to hedge in its inherent
linearity and determinism, poetry embodies openness. Lineated poetry is
structured in such a way that there is always open space on the page where a
line breaks off, so that a line doesn’t need to be marked by a period. The end
of a line fulfills the function of a full stop without its conclusion closure. As
Brand summarizes, a line “ends yes as you say, but it doesn’t conclude.” (“CENTERING
THE FULL STOP”)<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio6K7yDOl8OmrAExyDtIGyWkhyphenhyphena7nyuSwwUN-L98qh4y_Tcjnw3aAoTgX7ARZJWB288M-oZy6TwbxcuFbisTNbnveOAfqoaCGFpC4yKoNevgLO0WUskF6BzwXQ7VbYjuIBuZnagGET5Np0GdSpwjGcUQuHIa_jevJo5itkfM0B78qWhSCLGuGzmQ/s721/9781554472574_b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="721" data-original-width="450" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio6K7yDOl8OmrAExyDtIGyWkhyphenhyphena7nyuSwwUN-L98qh4y_Tcjnw3aAoTgX7ARZJWB288M-oZy6TwbxcuFbisTNbnveOAfqoaCGFpC4yKoNevgLO0WUskF6BzwXQ7VbYjuIBuZnagGET5Np0GdSpwjGcUQuHIa_jevJo5itkfM0B78qWhSCLGuGzmQ/w341-h546/9781554472574_b.jpg" width="341" /></a></div>It
is such a delight to read the thoughtful, thinking prose of <a href="https://www.klaraduplessis.com/" target="_blank">Montreal-based poet, writer and critic Klara du Plessis</a>, made more possible through the ten
essays collected in her <i><a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554472574" target="_blank">I’mpossible collab</a></i> (Kentville NS: Gaspereau
Press, 2023), an expansion upon the chapbook-length <i><a href="http://www.gaspereau.com/bookInfo.php?AID=0&AISBN=9781554471997" target="_blank">unfurl: Four Essays</a></i>
(Gaspereau Press, 2019) [<a href="https://robmclennan.blogspot.com/2019/10/ongoing-notes-early-october-2019-du.html" target="_blank">see my review of such here</a>]. As the back cover of <i>I’mpossible
collab</i> offers, the collection “asserts the collaborative nature of literary
criticism […],” and is made up of “ten essays discussing works by contemporary
Canadian poets such as Jordan Abel, Oana Avasilichioaei, Dionne Brand, Anne
Carson, Kaie Kellough, Annick MacAskill, Erín Moure, M. NourbeSe Philip, and
Lisa Robertson, [as] scholar and poet Klara du Plessis explores the critic’s
interpretive agency and the valuable playfulness of pursing our own insights,
proposing a more fluid, organic, and open-ended approach to how we think and
write about poetry.” The prose and thinking in these pieces absolutely sparkle,
and I’m fascinated in how these pieces might not have originally been composed toward
a collection but emerged as and into one, able to catch the ongoing threads of
concerns and conversations on writing, thinking and form (and honestly, her
piece on Dionne Brand alone is worth the price of admission). Her pieces are simultaneously
expansive and precise, offering such a level of glorious detail across a wide
array of reading. In “BLUE INK & THE DEFERRAL OF SILENCE,” an essay on the
reissue of <a href="https://www.nourbese.com/poetry/looking-for-livingstone/" target="_blank">M. NourbeSe Philip’s <i>Looking for Livingstone. An Odyssey of
Silence</i></a> (The Center for Expanded Poetics, 2018), du Plessis writes: “Silence
and language coexist and interrelate. The word for silence is a breaking of
silence, and silence persists in the word for word. The narrative now adopts a
theoretical edge, apt for thinking that happens at least partially in poetry.”<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">This
is a remarkable collection, and there is something I very much appreciate in du
Plessis’ approach, the notion of collaboration between reading and writing, text
and reader, offering an experience she brings to any material that can’t help
but interact with her own individual approaches to writing. She offers her
pieces in <i>conversation</i>, which seems almost the opposite of the John
Metcalf critical <i>declarative</i>, offering a critical engagement as both
reader and practitioner that informs her responses but refuses to automatically
direct those same responses. These essays, as well, provide an argument for how
every writer should attempt to explore or examine their reading in critical
prose, whether as a review or an essay. Such a process forces a deeper kind of
reading habit, one I know full well: there are plenty of poetry titles I didn’t
fully comprehend or appreciate until attempting my way through composing a
review. “When poetry faces its public,” she offers, as part of her introduction,
“ESSAYS, AS SAY—,” “the welcoming gesture is implicit.” As she continues,
further on:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>When I write essays, it is a collaboration. Poetry uncollars
itself from the illusion of essentializing definition, and I bring myself not
only into interpretation but also into openness as an author and thinker in
relation to texts. What I write about is poetry. how I write about it is as a
poet myself, but also from my positionality as a person. Reciprocal generosity
overlays and merges literature and literature. There is a minimalism to this
conceptualizing of collaboration, one which does not invite poets to produce
new work with me or on my behalf, but which assumes that when art exists in the
world, it renews itself through dialogue. If another were to write essays about
the same sequence of poetries, it would result in an altogether different book.<br /><br /></span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-33125504223252169752024-03-03T08:31:00.039-05:002024-03-03T08:59:26.477-05:0012 or 20 (second series) questions with Sabrina Reeves <p><!--[if gte mso 9]><xml>
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</xml><![endif]--><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWzrohJq_ZGrdcHfBMHl8ORHcxmq-VDofPXblHoF-bdSfNPtiz98FbKVk7FvPYgDxVtltEctnLiLShT9qlHcbelAs9Dau43ama8YOv4B5Ik3O8P2SzAcE3FbHyC10VjGH79-ZycIYGqDPVlAsiOqbcVXxG5lkSeGA6_ejt4YrMAz00nTEWmfjLA/s6611/Reeves,%20Sabrina_credit_Tony%20Chong.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="6611" data-original-width="4409" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWzrohJq_ZGrdcHfBMHl8ORHcxmq-VDofPXblHoF-bdSfNPtiz98FbKVk7FvPYgDxVtltEctnLiLShT9qlHcbelAs9Dau43ama8YOv4B5Ik3O8P2SzAcE3FbHyC10VjGH79-ZycIYGqDPVlAsiOqbcVXxG5lkSeGA6_ejt4YrMAz00nTEWmfjLA/w334-h502/Reeves,%20Sabrina_credit_Tony%20Chong.jpg" width="334" /></a></b></div><b><a href="https://www.sabrinareeves.com/" target="_blank">Sabrina Reeves</a></b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt;"> grew up in Boston and New York and currently
lives in Montreal. She founded the performance company <a href="https://www.bluemouthinc.com/" target="_blank">Bluemouth Inc.</a>, with
whom she’s written and staged over twelve original works and performed all over
the world. She was awarded the Dean of Arts and Sciences Award for Excellence
in Creative Writing upon completing her MFA at Concordia University in 2018.</span><p></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">1
- How did your first book change your life? How does your most recent work
compare to your previous? How does it feel different?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">It feels like I’ve
been handed a permission slip to continue writing prose. My background is in writing
for theatre and performance, texts that are meant to be spoken aloud. I’m sure there
are writers who find performing their writing more daunting than simply leaving
it on the page. But I find it much easier to perform my words than to trust the
paper to convey all the emotion. There are no qualifiers, no added emotions or
gestures on the page. The words must speak for themselves. Did I choose the
right ones? What if my ideas change and I later disagree with myself? There is
a permanence to writing that is daunting. Also, <a href="https://houseofanansi.com/products/little-crosses" target="_blank">the sustained focus of long-form prose</a> was a new challenge for me. Building sentences that add up to sections
that add up to chapters that connect necessarily one to the other to build to
an inevitable ending requires a very particular and sustained focus—and a fair number
of rewrites!</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">2
- How did you come to performance texts first, as opposed to, say, poetry,
fiction, or non-fiction? </span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I have been an
actor for several decades. I co-founded the Toronto-based performance
collective <a href="https://www.bluemouthinc.com/" target="_blank">Bluemouth inc</a>. I think it was in this transition from performing in
other people’s work to creating my own that my affinity for writing became
clear.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">It’s a bit of
both. Some of the chapters were written in one sitting and have changed very
little since that first draft, while others have been worked over and over—some
of the chapters I’d probably still be fiddling with if not for the deadline. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">4
- Where does a work 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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I would say there
are multiple parts to my process. In the beginning, I like to have several different
ideas percolating simultaneously. I collect bits of this and that: sentences,
observations, research, free writing, etc., and then loosely file them under
different project headings. The part of my brain that plans and has ideas about
what I should write about is, unfortunately, not a very good writer. My controlled
side is a bit too controlling; it doesn’t allow for anything unexpected, and so
the writing is stilted and dry. I do, however, find constraints very freeing
once I start to know what I’m working on. Nothing to do with content, strictly
form. For example, write sections of exactly 15 lines each, write lots of them,
write until you have 20 pages worth and organize those into a coherent piece.
Or write a page without using the letter S. Sometimes, those constraints
short-circuit the “control freak” side of the brain and remind the creative
side that it has its own organizational logic and to trust that.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">5
- Are public readings part of or counter to your creative process? Are you the sort
of writer who enjoys doing readings?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I love doing
readings. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">This may seem
redundant, but I am drawn to the power of story. I have friends in different
artistic disciplines, mostly dance and visual art. And sometimes they ask me
for feedback, and I can’t help but put a narrative to what I see, even if what
they’re doing is, for example, exploring the color blue. I believe in <a href="https://www.theparisreview.org/blog/2018/11/29/we-tell-ourselves-stories-didions-the-white-album-takes-to-the-stage/" target="_blank">Joan Didion’s line, “We tell ourselves stories in order to live.”</a> I suppose that has
something to do with how I approach writing. I am drawn to women’s stories, mental
health issues, generational trauma, and the opioid epidemic, for example. But I
believe personal stories have the power to resonate on a mythic level, and so
would always approach any issue through personal narrative. One of my favorite
writers is Claire Keegan. Most of her stories are deceptively simple, usually set
in Ireland, or some small rural place where not many people live, in a time
that is unspecified, featuring humble characters, and I don’t think she’s
written anything longer than a novella. So, never some grand issue-based opus.
And yet, every single one of her stories hits me like she has reached across
continents, stuck her hand in my chest and touched my heart. Images of the
atomic bomb come to mind; each story, an atom that annihilates. Even the simplest
story can hold tremendous power. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I think the role
of the fiction writer is to make big issues personal by transmuting facts into
story.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">8
- Do you find the process of working with an outside editor difficult or
essential (or both)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Not difficult at
all. For me, particularly writing something autobiographical, it proved
essential. At times, I couldn’t see the forest for the trees; Shivaun really
helped me find the throughline. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">9
- What is the best piece of advice you've heard (not necessarily given to you
directly)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">“The cave you
fear to enter holds the treasure you seek.” <a href="https://www.britannica.com/biography/Joseph-Campbell-American-author" target="_blank">Joseph Campbell</a></span></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I think every
day, almost every moment we have the choice not to be afraid, to choose life.
We are so driven by habit, but many of our habits came into being to protect us
from things we were afraid of. It can be a daily effort to remind oneself that
we have choices; we don’t have to still be afraid of things we were afraid of
as children.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">10
- How easy has it been for you to move between genres (performance texts/plays
to fiction)? What do you see as the appeal?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Two of the most
impactful books I read when I was younger were <a href="https://www.penguinrandomhouse.ca/books/48428/the-sound-and-the-fury-by-william-faulkner/9780679600176" target="_blank">Faulkner’s <i>The Sound and the Fury</i></a>
and <a href="https://www.penguinrandomhouse.ca/books/538974/the-waves-by-virginia-woolf/9780241372081" target="_blank">Woolf’s </a><i><a href="https://www.penguinrandomhouse.ca/books/538974/the-waves-by-virginia-woolf/9780241372081" target="_blank">The Wave</a>s</i>. I didn’t realize it was “allowed” to write novels
like that. That rulebreaking that defined Modernism had a profound effect on
me. </span></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><b>11 - What kind of
writing routine do you tend to keep, or do you even have one? How does a
typical day (for you) begin? </b></span></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I free write every
morning. And I keep a small notebook with me to collect thoughts and
observations as they arise throughout the day. In nice weather, I walk on the
mountain (in Montreal) in the morning and then write in a café afterward. Lots
of thoughts come to me when I’m walking. The afternoons are a bit less
predictable. I’d love to say, “I sit at my desk for three hours every
afternoon.” But that’s not true. I have two kids and my life is unpredictable.
Sometimes I get more writing done in the afternoon, but sometimes not. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">12
- When your writing gets stalled, where do you turn or return for (for lack of
a better word) inspiration? </span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Free writing,
observation, and unusual writing constraints</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">13
- What fragrance reminds you of home? </span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Lilacs. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">14
- 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? </span></b></p>
<p class="MsoNoSpacing"><i><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><a href="https://houseofanansi.com/products/little-crosses" target="_blank">Little Crosses</a></span></i><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"> was heavily
influenced by the landscape of the southwest. In general, being in a very
different landscape or climate or city than the one I live in makes me notice
more. It awakens my curiosity. Another thing that inspires me: I have a lot of
friends in the dance community and my daughter is a dancer, so we go to a lot
of dance shows. When I am at a dance show, I am often flooded with ideas and
images. Dance is so much about architecture of space and rhythm and tone, and
oddly there is something about plotting that is similar. The necessity of
architecture and orchestration. Often I will bring a very small pad of paper
and a pen when I go to a show and I surreptitiously take notes. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">15
- What other writers or writings are important for your work, or simply your
life outside of your work?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><a href="https://www.britannica.com/biography/Toni-Morrison" target="_blank">Toni Morrison</a>, <a href="https://www.nytimes.com/2023/06/13/books/cormac-mccarthy-dead.html" target="_blank">Cormac McCarthy</a>, <a href="https://www.opusarchives.org/james-hillman-collection/" target="_blank">James Hillman</a>, Louise Erdrich, <a href="https://www.nytimes.com/2022/11/05/books/claire-keegan-foster-books.html" target="_blank">Claire Keegan</a>, <a href="https://jennyoffill.com/" target="_blank">Jenny Offill</a>, <a href="https://georgesaundersbooks.com/" target="_blank">George Saunders</a>, <a href="https://www.penguinrandomhouse.ca/authors/55356/miriam-toews" target="_blank">Miriam Toews</a>, <a href="https://www.britannica.com/biography/Joseph-Campbell-American-author" target="_blank">Joseph Campbell</a>, <a href="https://www.britannica.com/biography/Fyodor-Dostoyevsky" target="_blank">Fyodor Dostoevsky</a>, <a href="https://www.nobelprize.org/prizes/literature/1949/faulkner/biographical/" target="_blank">William Faulkner</a>,
and <a href="https://www.britannica.com/biography/Virginia-Woolf" target="_blank">Virginia Woolf</a>.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">16
- What would you like to do that you haven't yet done?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Live somewhere
else for an extended period. Japan and Ireland come to mind.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">17
- 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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I would love to
be a farmer or run a small bookshop. Not exactly an exciting response, but
there you have it. I have no desire to skydive or hike the Himalayas, though
that would be a more exciting answer.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">18
- What made you write, as opposed to doing something else?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Though my
creativity takes various avenues, it is always fueled by storytelling. I
consider myself a beginner in writing fiction, but in storytelling and dialogue
and creating scenes that evoke emotion, I feel comfortable saying that this is
what I do. From years of performing my writing in front of an audience, I have
gained an immediate visceral sense of how to connect with an audience through
words. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">19
- What was the last great book you read? What was the last great film?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">I just finished <a href="https://typebooks.ca/products/9798987717103" target="_blank">Lydia
Davis’s collection <i>Our Strangers</i></a>, which I loved and <a href="https://dennislehane.com/books/small-mercies/" target="_blank">Dennis Lehane’s <i>Small
Mercies</i></a>. And last week I saw the film <i><a href="https://www.imdb.com/title/tt23561236/" target="_blank">American Fiction</a></i>, which I really
enjoyed.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">20
- What are you currently working on?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Various short
pieces, that will likely turn into longer pieces. </span></p>
<p class="MsoNoSpacing"><i><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a><br /><br /></span></i></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-90630515786504851302024-03-02T08:31:00.082-05:002024-03-02T08:31:00.193-05:00some recent substack posts: reading in the margins + the genealogy book,<p><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhcfLHZIjNr6ovshi5Gb9zTvJ4IWP1_HQcb5y-JUl6_BNFRnFe0I3qn0uYD0c-BqSGrkvnU7DBvX3p9jtCl5TFBFOEJ_Ht80o56sXxL0qPkZs_CgjpwqkTHKuImNdRRfdj4Sr32pIVO8D4aTpVJDQY3MfeESbHEICEZCzf8tEpFlysCH1wgaOwPQ/s1422/substack%20jean%20mckay.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1422" data-original-width="800" height="661" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhcfLHZIjNr6ovshi5Gb9zTvJ4IWP1_HQcb5y-JUl6_BNFRnFe0I3qn0uYD0c-BqSGrkvnU7DBvX3p9jtCl5TFBFOEJ_Ht80o56sXxL0qPkZs_CgjpwqkTHKuImNdRRfdj4Sr32pIVO8D4aTpVJDQY3MfeESbHEICEZCzf8tEpFlysCH1wgaOwPQ/w372-h661/substack%20jean%20mckay.jpg" width="372" /></a></div>I’ve
been working a couple of threads over at <b><a href="https://robmclennan.substack.com/" target="_blank">my incredibly clever substack</a></b> over the
past few months, most of which has been my ongoing genealogical non-fiction
project,<b> “the genealogy book,”</b> exploring new genealogical threads as well as
seeking further details along previously known genealogical threads, working my
family histories in multiple directions, now that I’m aware of the biological threads
of my adopted-self (<b><a href="https://robmclennan.substack.com/p/the-genealogy-book-5a9" target="_blank">here's a recent example</a></b>). I’ve been working this particular manuscript since June of
last year, and have been finding out some really fascinating details and connections,
and the comparisons between my previously-known self (McLennan/Campbell/Aird/Page/Swain/Friend and
other lineages throughout) against the newly-explored biological threads
(Adams, etcetera) I’m finding pretty interesting. The biological lines have
been over here far longer, for example, including numerous United Empire
Loyalist lines (which I haven’t had before this), leaning into some pretty
neat stories, connections and lengthy histories across Dundas County, the War of 1812, New England and the American Revolution, none of which I thought I had any connection to.<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">My
other ongoing thread is a series of short essays on fiction writers, <b>“reading
in the margins: a writing diary,”</b> with <b><a href="https://robmclennan.substack.com/p/reading-in-the-margins-jean-mckay" target="_blank">the most recent piece is on London,
Ontario writer Jean McKay, focusing on her 1983 “autobiographical novel” <i>Gone
to Grass</i> (Coach House Books)</a></b>. Naturally, this is a book I highly recommend,
if you can find a copy. Previously posted pieces across this same series include
write-ups on <a href="https://robmclennan.substack.com/p/reading-in-the-margins-gail-scott" target="_blank"><b>Gail Scott</b></a>, <b><a href="https://robmclennan.substack.com/p/reading-in-the-margins-joy-williams" target="_blank">Joy Williams</a></b>, <a href="https://robmclennan.substack.com/p/reading-in-the-margins-ernest-hemingway" target="_blank"><b>Ernest Hemingway</b></a>, <b><a href="https://robmclennan.substack.com/p/reading-in-the-margins-bobbie-louise" target="_blank">Bobbie Louise Hawkins</a></b>
and <b><a href="https://robmclennan.substack.com/p/reading-in-the-margins-kristjana" target="_blank">Kristjana Gunnars</a></b>. I’m slowly (very slowly, it might seem) working on
further pieces, on Dany Laferrière, LM Montgomery and Sheila Heti, among
others. We shall see how far it goes.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">I’ve
also been posting the occasional short story (<b><a href="https://robmclennan.substack.com/p/the-unwritten" target="_blank">here's a good one</a></b>), from a manuscript I’ve been slowly
carving over the past few years, a follow-up to this fall’s <i><b>On Beauty</b></i>
(University of Alberta Press), <b><a href="https://ualbertapress.ca/9781772127690/on-beauty/" target="_blank">a book already on pre-order, I might add</a></b>. I’ve
also been sprinkling through some small bits of flash fiction, a manuscript
nearly a decade in-progress (<b><a href="https://robmclennan.substack.com/p/little-arguments-stories-c1b" target="_blank">an example, here</a></b>), furthering <i><b>The Uncertainty Principle: stories,</b></i>
(Chaudiere Books, 2014), <b><a href="https://invisiblepublishing.com/product/uncertainty-principle/" target="_blank">a book still available through Invisible Publishing.</a></b></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Prior
to that, I’m sure you saw all the excerpts from the <b>“Lecture for an Empty Room”</b>
non-fiction project, focusing on reading, literature and community (<b><a href="https://robmclennan.substack.com/p/lecture-for-an-empty-room-2c8" target="_blank">here's my piece on John Cage, for example, as part of such</a></b>), <b>“A river
runs through it: a writing diary,”</b> my lengthy essay <b><a href="https://abovegroundpress.blogspot.com/2023/11/new-from-aboveground-press-river.html" target="_blank">on collaborating with Denver poet Julie Carr</a></b> and the lengthy essay (posted in two parts: <a href="https://robmclennan.substack.com/p/fold-staple-repeat" target="_blank">one</a> and <a href="https://robmclennan.substack.com/p/fold-staple-repeat-f59" target="_blank">two</a>) on <b>the thirtieth
anniversary/history of above/ground press</b>! There’s also been a piece or two on <b>“the
blue year,”</b> a writing journal/diary from 2019-2020 that I have yet to rework (<b><a href="https://robmclennan.substack.com/p/the-blue-year-19a" target="_blank">an example, here</a></b>), a
hefty manuscript from a period of father illness (als), my weekends attending care and his eventual death, new half-sibling
discoveries, Christine’s health crises and eventual pandemic (there was a lot to
process during that period, honestly). I’m hoping to get into that again at some point,
once the genealogical project is further along. Also, I’m hoping to get back
into the novel I began in 2021, one that furthers some threads from <i>On Beauty</i>,
so once I’m there I’ll start posting those as well. There are other threads too, but I'll let you figure that out on your own. Beyond that, who knows? Really, this whole substack process I deliberately began to push me further into a couple of prose directions, assisting to get pieces furthered, furthered and finished. Having the weekly slot does provide a good impetus for getting a piece done.<br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Right
now I’m attempting to post weekly (although recently I accidentally posted two
pieces recently on the same day, oops), with every third or fourth piece for paying
subscribers only. I mean, I’m attempting to treat this like a weekly column, in
a certain way, but it would be nice to have a few dollars in my pocket also,
along the way. And can you believe I'm<i> only 9,750 away </i>from <b>ten thousand subscribers</b>?<br /><br /><br /></span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-45712766738650353122024-03-01T08:31:00.013-05:002024-03-01T08:31:00.135-05:00Diane Mehta, Tiny Extravaganzas: poems<p> <!--[if gte mso 9]><xml>
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</p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">HEDGE MAN</span></b></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">The gardener climbs a
ladder, wiring floodlights<br />in to snip the darkness
off and save us.<br />We think we are so rich,
below hedges<br />trimmed; we believe in
Galileo because we telescope<br />objects of desire and
confirm their centrality. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">We have lived here since
the fourteenth century<br />We are kings of pencil
shavings and paper<br />gaming high designs; we
word-build<br />in Scrabble and weep over
apocalypse letters<br />that won’t weave mechaniv
into E or zock in O. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">The floodlights swallow
all the stars<br />we loved so much, but
made within its shimmer<br />spotlights of our faces, dissolving
behind us<br />with words and shapes we
made at our tables,<br />knowledge in hand, believing
we are so rich.<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI56hW9h-xwm8OxeLx3qf8XtfnN9oVf9gWaCr2LQRTZADYC5IzgXK5uPbVOQ3XK-z2MD7nXiAcEI5gMpu5-ZfSVyWQt4v1_pzu76RVothmXCCefmyX2t8FE6H70k_IL3g9ILFo1OMkCLhFqfe928RER8KJsi_JTGYmOEviUcECsvBe1G2PFEHwuA/s989/Tiny+Extravaganzas+-+Shadow.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="989" data-original-width="741" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI56hW9h-xwm8OxeLx3qf8XtfnN9oVf9gWaCr2LQRTZADYC5IzgXK5uPbVOQ3XK-z2MD7nXiAcEI5gMpu5-ZfSVyWQt4v1_pzu76RVothmXCCefmyX2t8FE6H70k_IL3g9ILFo1OMkCLhFqfe928RER8KJsi_JTGYmOEviUcECsvBe1G2PFEHwuA/w354-h472/Tiny+Extravaganzas+-+Shadow.jpg" width="354" /></a></div>I
was curious about <i><a href="https://www.arrowsmithpress.com/diane-mehta" target="_blank">Tiny Extravaganzas: poems</a></i> (Medford MA: Arrowsmith
Press, 2023), the first I’ve seen from poet <a href="https://www.dianemehta.net/" target="_blank">Diane Mehta</a> [<a href="https://robmclennan.blogspot.com/2019/03/12-or-20-second-series-questions-with_8.html" target="_blank">see her 2019 ’12 or 20 questions’ interview here</a>], a writer “born in Frankfurt, grew up in Bombay and
New Jersey, studied in Boston, and now makes her home in New York City.” <i>Tiny
Extravaganzas</i> is Mehta’s second published full-length collection, following
<a href="https://fourwaybooks.com/site/forest-castanets/" target="_blank"><i>Forest with Castanets</i></a> (Four Way Books, 2019), as well as a poetics and
style guide, <i><a href="https://www.goodreads.com/en/book/show/6577892" target="_blank">How to Write Poetry</a></i> (Barnes & Noble Books, 2005) and
the essay collection <i>Happier Far </i>(University of Georgia Press, 2025).
I’m intrigued by the expansiveness of Mehta’s American lyric, one that both
cites and responds to Walt Whitman and his opening of lyric structure, as well
as her engagement with the ode, triolets, hymns, landscape descriptions and
objects of worship. “We lived in adverbs,” the poem “ODE TO PATRICK KEARNS,
FUNERAL DIRECTOR / OF THE LEO F. KEARNS FUNERAL HOME IN QUEENS” writes, “dressed
for rainshine / half the time and not according to the daily toll, not this
running / tally, at scale in every borough. Our minds are lost to gravity /
again. By gravity we live.” Mehta’s is a pretty expansive canvas, leaning hard
into traditional lyric forms and influence, seeking answers through narrative suites
of meditative flight. ‘On the black stone edge of a medieval bridge inviting
you to jump,” she writes, opening the poem “PRAYER,” “miniature lights trail on
the tails of frenzied gnats: / transmutations of fireflies pinwheeling in
confusion. / What have I become, they think.” She writes a lyric that articulates
even as it unfolds, unfurls, each poem a combination of short scene and lyric
essay. Or, as the short poem “NOTHING DOING” ends: “Art diagrams the measure of
all we find.”<p></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-91718668351489146402024-02-29T08:31:00.039-05:002024-02-29T08:31:00.156-05:0012 or 20 (second series) questions with Simon West<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCpJv00iaYPbNwbSdK_Dj78wCLHp9ZkjieNEZqS7QSetbg_zluc4hYuTcgTP9DlTouk52IQN6keKoDUImC5-IRx709sHnN2mLuOhhvzDBh105ulNZIVRhXL-0xfPlYBzceZKMnvPL7MQGZM3tdPAI78GImZ0Lu-z21BVX1Fnp7JbrrPLkZ48oXuA/s640/thumbnail_IMG_2317.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCpJv00iaYPbNwbSdK_Dj78wCLHp9ZkjieNEZqS7QSetbg_zluc4hYuTcgTP9DlTouk52IQN6keKoDUImC5-IRx709sHnN2mLuOhhvzDBh105ulNZIVRhXL-0xfPlYBzceZKMnvPL7MQGZM3tdPAI78GImZ0Lu-z21BVX1Fnp7JbrrPLkZ48oXuA/w337-h449/thumbnail_IMG_2317.jpg" width="337" /></a></b></div><b>Simon West</b> is the author of five collections of poetry, including <i><a href="https://press.princeton.edu/books/hardcover/9780691250922/prickly-moses" target="_blank">Prickly Moses</a></i>, published in the Princeton Series of Contemporary Poets, and <i><a href="http://www.australianpoetryreview.com.au/2015/11/simon-west-the-ladder/" target="_blank">The Ladder</a></i>, which was shortlisted for the Australian Prime Minister’s Literary Awards. He is also the author of <a href="https://www.waterstones.com/book/dear-muses/simon-west/9781925780468" target="_blank"><i>Dear Muses? Essays in Poetry</i></a> and <a href="https://www.copperfieldsbooks.com/book/9781906510725" target="_blank"><i>The Selected Poetry of Guido Cavalcanti</i></a>. He lives in Melbourne, Australia.<br /><b><br />1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?</b><br />The themes that recur in the poems I write today are similar to those in my first book, <i><a href="http://www.australianpoetryreview.com.au/2007/10/simon-west-first-names-glebe-puncher-wattmann-2006-58pp/" target="_blank">First Names</a></i>, published back in 2006. Maybe I’m less shy about them today, more willing to accept them and give them the space they need to ring out. If there was a moment when poetry suddenly changed my life, then it came when I read <a href="https://www.poetryfoundation.org/poems/49008/morning-song-56d22ab4a0cee" target="_blank">Sylvia Plath’s ‘Morning Song’</a>. I was a teenage boy growing up in country Victoria. The experience of early motherhood that Plath evokes in that poem was not something I had much interest in. But I was amazed by how those words and images bristled and came alive, as if a spirit leapt off the page and entered me. Perhaps everything I have written is a homage to that spirit as I have discovered it in many poems and poets since. My new book, <i>Prickly Moses</i>, is no different. <br /><br /><b>2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?</b><br />Delighting in nursery rhymes and nonsense rhymes as a kid. Growing up thinking words are not just sense but something alive and mysterious, and that rhyme and reason are sometimes two distinct modes of language.<br /><br /><b>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?</b><br />Each poem has its own peculiar conception, birth and growth. You learn to let them find their own way. Saying to yourself, for the next 6 months I’m only going to write sonnets, or now I’m going to write a book of poems about bonsai or whatever … I can’t see much point in that. <br /><br /><b>4 - Where does a poem or work of fiction 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?</b><br />One small, difficult birth after another. No grand projects.<br /><br /><b>5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?</b><br />It’s a question I often get asked in an interview. And I wonder if the question is really asking, why are poets so bad at finding readers, or is there even an audience for poetry? I enjoy reading in public and meeting other people interested in poetry, but I worry it’s not the way my poems should be encountered. My ideal audience is someone reading alone under their breath, slowly, thoughtfully, letting their own voice merge with that of the poem, maybe sharing their excitement with an intimate friend. <br /><br /><b>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?</b><br />If I could write a poem to resolve climate change or the mess in Gaza I’d do it today. But poetry works not so much by answering questions as by following intuitions.<br /><br /><b>7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?</b><br />Blow the minds of readers, connect them to a richer human culture. Although I’d try to formulate it in a less grandiose manner, I like what Wordsworth says:<br /><br />‘[the poet] is the rock of defence for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time.’<br /><br /><b>8 - Do you find the process of working with an outside editor difficult or essential (or both)?</b><br />You need readers whose opinions you respect, but in the end you have to be your own best critic, and that is so hard to do. After 25 years of reading and writing seriously I still despair at how fickle my opinions can be. One day a poem I’ve written seems fantastic, the next it’s worthless.<br /><br /><b>9 - What is the best piece of advice you've heard (not necessarily given to you directly)?</b><br />I think the advice that continues to be most relevant to me, is to learn to be your own best critic.<br /><br /><b>10 - How easy has it been for you to move between genres (poetry to essays to translation)? What do you see as the appeal?</b><br />I don’t really think in terms of genres. I take pleasure in writing and speech where language is wielded well, and I try to live up to that in my own work.<br /><br /><b>11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?</b><br />It’s good to have a routine. Mine is to write in the mornings mostly. But the reality is some days there are bills to pay. Some days you have nothing to say, or you are gripped by the need to write while you are doing chores or out with friends and you have to stop everything. <br /><br /><b>12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?</b><br />To reading and walking.<br /><br /><b>13 - What fragrance reminds you of home?</b><br />Living between Italy and Australia, and between the present and the past, I feel like I have multiple homes. All of them incomplete. Even when I am at home in Melbourne, there’s a part of me longing for the home where I grew up in country Victoria. Lately I think about the wind as moving the air between these various places, connecting them somehow in my imagination.<br /><br /><b>14 - 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?</b><br />All of the above and more.<br /><br /><b>15 - What other writers or writings are important for your work, or simply your life outside of your work?</b><br />The ones I discover by chance, that I wouldn’t consciously set out to read.<br /><br /><b>16 - What would you like to do that you haven't yet done?</b><br />Be more widely read.<br /><br /><b>17 - 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?</b><br />I like the idea of the quest narrative that scientists often evoke to describe their work. To discover some truth or law of nature. And I’m fascinated by rocks. So maybe a geologist.<br /><br /><b>18 - What made you write, as opposed to doing something else?</b><br />Awe and devotion for our language, and a need to pay homage to our forebears. <br /><br /><b>19 - What was the last great book you read? What was the last great film?</b><br />I’m rereading <a href="https://www.gutenberg.org/ebooks/205" target="_blank">Thoreau’s </a><i><a href="https://www.gutenberg.org/ebooks/205" target="_blank">Walden</a> </i>and I am amazed by his enthusiasm and curiosity. How dogged his celebrations of both the natural and the human realms, and how much clarity and liveliness in his prose. <br /><b><br />20 - What are you currently working on?</b><br />A poem about the weeds and self-seeding plants that grow in the laneways in the inner city suburb of Melbourne where I live. Why? I don’t know. It sounds like a terrible idea for a poem. But there is something that niggles at me that I can’t identify whenever I walk in those lanes. I need to know what it is.<br /><br /><i><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a></i><br /><br /><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-45273666865168776072024-02-28T08:31:00.019-05:002024-03-11T17:07:59.837-04:00Ongoing notes: late February, 2024 : Michael Chang + Ethan Vilu,<p><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGZha_HiE3MP_MgCcI2RpcdisPDxKWWk-dSBAB3vtyKquP92DUuz3LLMaMnGcHsAHQB1Aj-i_M9RRlkuFhu-lJH8tDUIIW6KKoW3g6tpSw4j4XJIt0tOIIw7_UISDhvHhBsqTizd6ebnwo-kiStuRFumJrPkWLEEjYpLpHOn-RCOQmx14k5SjXg/s4032/IMG_7327.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGZha_HiE3MP_MgCcI2RpcdisPDxKWWk-dSBAB3vtyKquP92DUuz3LLMaMnGcHsAHQB1Aj-i_M9RRlkuFhu-lJH8tDUIIW6KKoW3g6tpSw4j4XJIt0tOIIw7_UISDhvHhBsqTizd6ebnwo-kiStuRFumJrPkWLEEjYpLpHOn-RCOQmx14k5SjXg/w504-h378/IMG_7327.JPG" width="504" /></a></b></div><b><a href="https://www.indiegogo.com/projects/versefest-fundraiser?utm_source=lifecycle&utm_medium=email#/" target="_blank">There are only THREE DAYS LEFT in the VERSeFest fundraiser!</a></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> But you
already knew that, yes? <a href="https://www.verseottawa.ca/en/versefest" target="_blank">And the schedule for this spring’s VERSeFest: Ottawa’s International Poetry Festival (March 21-24) will be announced very very soon!</a></span><p></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Toronto ON/Brooklyn NY:</span></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> I’ve seen work by
<a href="https://bombmagazine.org/articles/2023/09/12/michael-chang-interviewed/" target="_blank">American poet and editor Michael Chang</a> around for a while now, so it is good to
finally get my hands on a small collection, the chapbook <i><a href="http://www.anstrutherpress.com/new-products/sweet-moss-by-michael-chang" target="_blank">SWEET MOSS</a></i>
(Anstruther Press, 2024), following collections such as <i><a href="https://nupress.northwestern.edu/9780810146211/synthetic-jungle/" target="_blank">SYNTHETIC JUNGLE</a></i>
(Northwestern University Press, 2023) and <i>EMPLOYEES MUST WASH HANDS</i>
(GreenTower Press, 2024). Jim Johnstone’s Anstruther has been leaning into
publishing work by more Americans these days, I’ve noticed, allowing for a
particular kind of cross-border conversation within the bounds of his press,
one of the more active chapbook publishers in Canada. The seventeen poems that
make up <i>SWEET MOSS</i> shift in structure, from prose poems to more traditional
line-breaks, each of which offer accumulations of first-person statements.
Chang’s poems write in a kind of propulsion of direct statements, sly commentary
and observation in a language condensed, communicating with the immediacy of
social media or text messages. “if the gods are watching,” Chang writes, as
part of the poem “SPECIAL SNOOZE,” “I’m not allowed to be too happy // I’m not
sure why I think this / Probably something learned from television [.]” There’s
an element of Chang’s lyric lined with input from every direction, whether culture,
social media, relationships and travel, attempting not only a through-line but
a line through. Perhaps, through Michael Chang, one might manage, and even
maintain, a degree of clarity through all the external noise.</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">SMOKE IN JAPAN</span></b></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">the man u loved<br />died in a war<br />of ur own making<br />downturned mouth<br />mess of fallopian tubes<br />yes but have u heard of<br />staring in the same
direction<br />chanting NO HOPE FOR US
!!!<br />we’re full<br />of special moments<br />that end<br />in a matter of hrs<br />a place in nature<br />we can finally meet<br />pegged by peggy<br />hootin’ for hooten<br />heads in clouds<br />in flagrante delicto<br />the battys in the club<br />peep ur finest garb<br />seething assured<br />a hit dog will holler</span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Toronto ON/Calgary AB:</span></b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> The latest from <a href="https://ethanvilu.li/" target="_blank">Calgary poet, reviewer and editor Ethan Vilu</a>, following the longsheet, <i><a href="http://www.theblastedtree.com/ethan-vilu" target="_blank">A Decision Re: Zurich</a></i> (The Blasted Tree, 2020), is <i><a href="http://www.anstrutherpress.com/new-products/drawings-from-before-the-red-year-by-ethan-vilu" target="_blank">Drawings From Before The Red Year</a></i> (Anstruther Press, 2024), an assemblage of short narrative scenes with
a clipped lyric. Vilu’s poems are lean, and precise, a sketchform of lines
enough to see the whole portrait, even the spaces not drawn. Taking their
content from the online fantasy game series, Elder Scrolls, I’m surprised there
aren’t more poems composed across further elements of pop culture (although the
list of those composing poems for superhero comic characters are fairly short,
also), specifically online gaming, something <a href="https://macleanevans.ca/" target="_blank">Leah MacLean-Evans</a> has been
working for a while (I’ve been awaiting a chapbook or collection of some time)
and <a href="https://ianmartin.rocks/at-writing/" target="_blank">Ottawa poet IAN MARTIN</a>, who has been exploring both gaming and programming.
“In my skull I hear the clattering of bad fables. Dark signal,” Vilu writes, to
open the poem “Galtis Guvron,” “scrabled scar. Down the stairs, a messenger approaches:
// blood on her hands, a translusccent musical name. A siren // siphoning from
the stars.” Vilu’s poems here are sharp, serious and playful, and one might
wonder if there might be a full-length collection-to-come, perhaps, one that
might even allow certain readers an entry point into poetry, from online gaming.
The opening lines of the poem “Drarayne Girith,” might even serve as a kind of
ars poetica for Vilu’s explorations through gaming: “I stop just short. //
Clipped writsts, ragged staff, crushed tongue.”</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">The Docks Outside Vivec</span></b></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Ambrosial, this sea
breeze –<br />salt, anther pollen and
pearl. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Linen and wood<br />form a necklace to collar
the cove. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">straight ahead: the
heather patch,<br />the sigil-stone, the
sky-vibrant beach <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">and the wide bridge,<br />tense and time-honoured, <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">carrier of secrets,<br />working to cast off its
burden.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-75173684298230795942024-02-27T08:31:00.021-05:002024-03-08T10:00:06.445-05:00Danielle Vogel, A Library of Light<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
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<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">When we are. When we are
there, we lay together and cover ourselves with our voices. When we are ten, we
are also twenty-one. We speak of breathing, but this is a thing we cannot do. When
we are seven, we are also eighteen. When we are eighteen, we begin our bodies. But
we are unmappable, unhinged. A resynchronization of codes, the crystalline
frequencies of stars, seeds, vowels, lying dormant within you. we are the
oldest dialect. A sound the voice cannot make but makes.<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqUIjgE7f1QtHar10Q4EMQsOrv0o8mazn8K-i82uLfxHqrUzU1X0D9lxqzFTDrbmlrMuEKfBruRC6_gD2uUxKPlHyVhyhbYv9zO2ZjYLsgvXBuZu5po0tQQTFTf8TNbb0zBCB-ZEdxk_omsZuiMGl3i0KZA-PernYXFDoJc1D3ilJelFWmHG2RQ/s1000/91oN08sLM5L._AC_UF1000,1000_QL80_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="743" height="545" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqUIjgE7f1QtHar10Q4EMQsOrv0o8mazn8K-i82uLfxHqrUzU1X0D9lxqzFTDrbmlrMuEKfBruRC6_gD2uUxKPlHyVhyhbYv9zO2ZjYLsgvXBuZu5po0tQQTFTf8TNbb0zBCB-ZEdxk_omsZuiMGl3i0KZA-PernYXFDoJc1D3ilJelFWmHG2RQ/w405-h545/91oN08sLM5L._AC_UF1000,1000_QL80_.jpg" width="405" /></a></div>The
latest from American “cross-genre writer and interdisciplinary artist” <a href="https://www.danielle-vogel.com/" target="_blank">Danielle Vogel</a>, currently an associate professor of English at Wesleyan University, is <i><a href="https://www.weslpress.org/9780819500915/a-library-of-light/" target="_blank">A Library of Light</a></i> (Middletown CT: Wesleyan University Press, 2024), a
collection that follows <a href="https://www.noemipress.org/catalog/poetry/between-grammars/" target="_blank"><i>Between Grammars</i></a> (Noemi Press, 2015), <a href="https://www.weslpress.org/9780819579225/edges-and-fray/" target="_blank"><i>Edges
& Fray</i></a> (Wesleyan University Press, 2019) [<a href="http://robmclennan.blogspot.com/2020/02/danielle-vogel-edges-fray-on-language.html" target="_blank">see my review of such here</a>]
and <i><a href="https://redhen.org/book/the-way-a-line-hallucinates-its-own-linearity/" target="_blank">The Way A Line Hallucinates its Own Linearity</a> </i>(Pasadena CA: Red Hen
Press, 2020) [<a href="http://robmclennan.blogspot.com/2020/12/danielle-vogel-way-line-hallucinates.html" target="_blank">see my review of such here</a>]. As the press release offers: “When
poet Danielle Vogel began writing meditations on the syntax of earthen and astral
light, she had no idea that her mother’s tragic death would eclipse the writing
of that book, turning her attention to grief’s syntax and quiet fields of
cellular light in the form of memory. Written in elegant, crystalline prose
poems, <i>A Library of Light</i> is a memoir that begins and ends in an
incantatory space, one in which light speaks.” Composed across three extended
sections of prose poem accumulations—“Light,” “of Light” and “Light”—as well as
the “Postscript—Syntax: a bioluminescence,” Vogel examines the shifting of self
and of selves, light and of light, and the simultaneity of all of the above through
the complexities of grief. This is, as she offers, a book of light. “This field
is the first inscription.” she writes, early on in the collection. “A crackling
pulse that set me going. I think words like <i>amniotic, birth, origin,
beginning</i>.”<p></p>
<p class="MsoNormal"><i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">A Library of Light</span></i><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> exists as both
examination and archive of memory, loss, dislocation, connection and
interconnection; of light, working through a translation of how light acts, and
reacts. “Sometimes, when asked what I’m working on,” she writes, as part of the
second section, “I tell people I’m writing a translation of light. Light, like
the memory of a color, of a sound that we can’t quite sense, but is there,
nonetheless. Inherited light. cellular light. Interstellar. Memories that have
already happened to someone or somewhere else.” Whereas <a href="https://talonbooks.com/authors/robert-hogg" target="_blank">Ottawa-area poet Robert Hogg</a> worked his lyric as a sequence of extended stretches that utilized a
particular lightness of tone and touch in his <i>Of Light</i> (Toronto ON:
Coach House Press, 1978), Vogel utilizes that same element of light but one
that acknowledges its lightness, as well as its weight (or mass), the gravity
of each section shifting like sand, until certain might sit lighter than air, and
others, almost too heavy to bear. As she writes:</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Light lets the grid of a
thing respire. Each intersection becomes an <i>or </i>in relation. Imagine the
skin of you, all its points of convergence, either through sense or sound,
being met at once. The grid begins to glow.</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">We move in every
direction even standing still. We are let by light. It culls something against
us. The grid is refracting. Light oracles us. Languages us. Reflexes relation. I
become beside myself and something else while stationary.</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 36pt; text-align: center;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">,</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">As language contracts, I experience
my form. Its skin, sensors and bones, its joins and synapses. Language is
erotic, sensory. Atmospheric and physical. The living bridge between the two.</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 36pt; text-align: center;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">,</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I
like how Vogel holds commas to separate her sections, furthering the suggestion
of accumulation and ongoingness to the sequence of prose pieces. One step, and
then another, progressing throughout the length and breadth of the collection. The
pieces, poems, in <i>A Library of Light</i> are deeply thoughtful, lyrically
compact and meditative, working her light through the dark, a call-and-response
between the two, each one threading the other’s needle. Vogel holds what
otherwise can’t easily be held. There is such an ongoingness to grief, the
grief described here, described here in terms complicated and even contradictory;
the grief over the loss of her mother, a figure that hadn’t an easy presence,
and the years of distance they’d had between them. As Vogel writes: “Grief has
a long passage. For months I referred to my mother’s death in the present tense.
My mother dies. Was what I said and wrote. What was this slippage? When I found
out, I paced the floor until my knees left me. And then I crawled toward the bathroom,
picked up an old toothbrush and proceeded to clean the room with it. I began
under the claw foot tub. Stretched out, on my belly, my cheek pressed to the
floor, I reached for the furthest corner.”</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-50854815428957365552024-02-26T08:31:00.000-05:002024-02-26T08:31:00.132-05:0012 or 20 (second series) questions with Ian Seed<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneP9Hce6MTrtBIlrb-ZCCDKHZznC3YeJnKvwrdrxV3Z8nD6qWqksSTL8PKvSzQ0ZA4EisiAOLr04ulG1Kx4sFOI1w4bYctYhS4g9EiqeGRpPvYMYwCqCnjO2lkGFxpk0-rbunoSF09dCRrs6nFEO9GbQV4KKvZPr0pOH4FVWUoTho8qiikSndKg/s602/ianseed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="602" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneP9Hce6MTrtBIlrb-ZCCDKHZznC3YeJnKvwrdrxV3Z8nD6qWqksSTL8PKvSzQ0ZA4EisiAOLr04ulG1Kx4sFOI1w4bYctYhS4g9EiqeGRpPvYMYwCqCnjO2lkGFxpk0-rbunoSF09dCRrs6nFEO9GbQV4KKvZPr0pOH4FVWUoTho8qiikSndKg/w554-h416/ianseed.jpg" width="554" /></a></div><p><strong><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Ian Seed</span></strong><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;">'s recent collections of poetry and prose poetry
include <em><span style="font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><a href="https://www.shearsman.com/store/Ian-Seed-Night-Window-p584010639" target="_blank">Night Window</a></span></em> (Shearsman,
2024), <a href="https://www.knivesforksandspoonspress.co.uk/product-page/operations-of-water-by-ian-seed-78-pages" target="_blank"><em><span style="font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Operations of Water</span></em></a> (Knives,
Forks & Spoons Press, 2020), and <em><span style="font-family: "Garamond",serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><a href="https://www.shearsman.com/store/Ian-Seed-New-York-Hotel-p102839110" target="_blank">New York Hotel</a></span></em> (Shearsman, 2018) (a <i style="mso-bidi-font-style: normal;">TLS</i>
Book of the Year). His most recent translations are <a href="https://wakefieldpress.com/products/the-dice-cup" target="_blank"><i style="mso-bidi-font-style: normal;">The Dice Cup</i>, from the French of Max Jacob</a> (Wakefield Press, 2022),
and <a href="https://fortnightlyreview.co.uk/odd-volumes/" target="_blank"><i style="mso-bidi-font-style: normal;">the river which sleep has told me</i>,
from the Italian of Ivano Fermini</a> (Fortnightly Review Odd Volumes, 2022). See <a href="http://www.ianseed.co.uk">www.ianseed.co.uk</a> </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">1 - How did your first book
change your life? How does your most recent work compare to your previous? How
does it feel different?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">My first full-length collection
was <i><a href="https://www.shearsman.com/store/Ian-Seed-Anonymous-Intruder-p102839108" target="_blank">Anonymous Intruder</a></i>. I was already 52 years old when it was published
by Shearsman in January, 2009. Finally I could begin to believe that I was not
an imposter after all, and feel much freer to make writing a real commitment. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">My more recent work is on the
whole based more on narrative, while <i>Anonymous Intruder</i> revolved more
around association of images and sounds. Nevertheless, the voices in <i style="mso-bidi-font-style: normal;">Anonymous Intruder</i> are spookily similar in
some respects to those in my most recent collection, <i>Night Window</i>
(January 2024). Perhaps the main difference now (from <i><a href="https://www.shearsman.com/store/Ian-Seed-Makers-of-Empty-Dreams-p102838594" target="_blank">Makers of Empty Dreams</a></i>
(2014) onwards) is that my writing is much more likely to make you laugh (in
the best sense, I hope), while remaining, in the words of <a href="https://www.poetryfoundation.org/poets/luke-kennard" target="_blank">Luke Kennard</a>, ‘shot
through with melancholy’.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">2 - How did you come to poetry
first, as opposed to, say, fiction or non-fiction?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I first came to poetry when I
was 17, studying ‘A’-level English. One of our set texts was the <a href="https://www.foliosociety.com/ca/edward-thomas-selected-poems.html" target="_blank"><i style="mso-bidi-font-style: normal;">Selected Poems</i> of Edward Thomas</a>
(1878-1917). I was fascinated and haunted by the melancholy and sense of regret
in his poems, as much as I was moved by his observations of nature, his
lyricism, and his narratives of encounters. At around the same time, I began to
discover that there was a wide and eclectic mix of poetry out there. For
example, my aunt had the <i>Selected Poems</i> of T.S. Eliot on her bookshelves,
and I remember being drawn especially to ‘The Love Song of Alfred J Prufrock’,
while, much more radically, my mother owned a copy of Kenneth Patchen’s <i>Love
and War Poems</i>, which is where I discovered prose poems, although I didn’t
know the term ‘prose poem’ at that time. <a href="https://www.poetryfoundation.org/poets/kenneth-patchen" target="_blank">Kenneth Patchen’s</a> work was also my
first encounter with surrealism. Then there was the <i>Poet Modern Poets</i>
series of the 1960s and 70s; I was drawn to the likes of <a href="https://www.scottishpoetrylibrary.org.uk/poet/alan-jackson/" target="_blank">Alan Jackson</a>, <a href="https://en.wikipedia.org/wiki/Jeff_Nuttall" target="_blank">Jeff Nuttall</a> and <a href="https://www.3ammagazine.com/3am/william-wantling-the-fix-ridgwell/" target="_blank">William Wantling</a> in <i>PMT 12</i>, and <a href="https://www.poetryfoundation.org/poets/charles-bukowski" target="_blank">Charles Bukowski</a>, <a href="https://www.poetryfoundation.org/poets/philip-lamantia" target="_blank">Philip Lamantia</a> and <a href="https://www.poetryfoundation.org/poets/harold-norse" target="_blank">Harold Norse</a> in <i>PMT 13</i>. I loved the more minor poems of
<a href="https://www.poetryfoundation.org/poets/dylan-thomas" target="_blank">Dylan Thomas</a>, such as ‘<a href="https://www.poeticous.com/dylan-thomas/to-others-than-you" target="_blank">To Others Than You</a>’ or ‘<a href="https://allpoetry.com/Twenty-Four-Years" target="_blank">Twenty Four Years</a>’ </span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">(‘ </span><span lang="EN-GB" style="color: #141823; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">With my red veins full of
money,/ In the final direction of the elementary town / I advance as long as
forever is’)</span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">;</span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> I was not so keen on ‘Do Not Go Gentle Into That Good Night’, which I
found (and still do) overly ‘poetic’. <a href="https://www.poetryfoundation.org/poets/mark-hyatt" target="_blank">Mark Hyatt</a> (1940-72) was a poet who
fascinated me; I am so pleased to see his work now, fifty years on, finally
getting some of the recognition it deserves, and I have recently reviewed his <i><a href="https://nightboat.org/book/so-much-for-life/" target="_blank">Selected Poems: So Much for Life</a></i> (Nightboat Books, 2023) for <i>PN Review</i>. This
is all very male and pale, I realise (reflecting what was mainly on offer at
the time, even in anthologies such as <a href="https://en.wikipedia.org/wiki/Children_of_Albion:_Poetry_of_the_Underground_in_Britain" target="_blank">Michael Horowitz’s <i>Children of Albion:
Poetry of the Underground in Britain</i></a>), but I also loved <a href="https://theliterat.files.wordpress.com/2016/01/ariel-restored-edition.pdf" target="_blank">Sylvia Plath’s </a><i><a href="https://theliterat.files.wordpress.com/2016/01/ariel-restored-edition.pdf" target="_blank">Ariel</a>
</i>and some poems by Rosemary Tonks that I discovered in an anthology edited
by Edward Lucie-Smith. My favourite poems I would copy into an exercise book to
carry around with me.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Reading poetry made me want to
write. Most of what I wrote was pretty awful, of course, but I got better to
the point where an English teacher, David Herbert, who was a poet himself,
introduced me to the world of ‘little magazines’ and encouraged me to send some
poems off. I would like to say I never looked back, but after having some very
minor success with publishing – poems in magazines of the time, two tiny
pamphlets published, one self‑published pamphlet featured on local radio
(thanks to a contact of David Herbert’s), I more or less stopped writing at the
age of 24 and didn’t come back to it in any serious way until two decades
later, when I had a kind of mid-life crisis – I am glad that I did. (If you’re
interested for more details on my writing journey, see </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://fortnightlyreview.co.uk/2022/06/seed-penguin-poets/"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://fortnightlyreview.co.uk/2022/06/seed-penguin-poets/</span></a></span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> , </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://fortnightlyreview.co.uk/2018/10/discovery-rediscovery/"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://fortnightlyreview.co.uk/2018/10/discovery-rediscovery/</span></a></span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> and </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://ianseed.co.uk/background"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://ianseed.co.uk/background</span></a></span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> .)</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I tend just to ‘turn up for
writing’, even if it’s only for a few minutes a day, and then I go from there. Sooner
or later, poems or pieces of short prose start coalescing around certain
themes, which I may then develop into a collection over a period of around two
or three years. I tend to write quickly and quite copiously but around 90% of
what I write does not make it into a published piece. Like most writers, I do a
lot of editing and simply playing around with language, imagery and narrative. Of
course, there are those rare occasions when I get lucky and write something
which I suddenly realise reads the way it is meant to be without me messing it
up in a second draft.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Poems usually begin when I go
back to all my messing around with words and images, and see if I find
something which I can then tease into a poem. I am definitely an author of
short pieces that end up combining into something larger. Nevertheless, in
spite of the lack of deliberate plotting, my poems and prose poems are usually
interlinked in any one collection, and can be read as a kind of continuous
story, albeit a fragmented one. <a href="http://stridemagazine.blogspot.com/2018/02/" target="_blank">Georgia Matthews, reviewing <i>New York Hotel</i>
(Shearsman, 2018) for <i>Stride magazine</i></a>, suggested that readers will find
themselves invested in the characters and narratives as they would in a novel.
(Perhaps I am really a frustrated novelist at heart!)</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">5 - Are public readings part of
or counter to your creative process? Are you the sort of writer who enjoys
doing readings?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I love doing readings because I
can see in real time how people respond to my work. And it’s always good to see
a few more books being sold.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I remember recently coming
across an old note written in my early twenties saying that I wrote ‘to create
something of beauty and to move people.’ That may sound a bit clumsy and naïve,
but I think that even in my youth my ultimate aim was not one of
self-expression, but of doing something interesting with language, imagery and
narratives, and sometimes rhythm and sound. Which is not to say that there
isn’t a lot of self-expression and hidden confession in my writing – there is. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I tend to let my writing pose
its own questions without looking for immediate answers; the questions can
sometimes be political ones, such as an exploration of our attraction to
strongmen (e.g. ‘Tutor’ in <i>New York Hotel</i>), but more often they are a
combination of personal, archetypal and aesthetic ones.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">7 – What do you see the current
role of the writer being in larger culture? Do they even have one? What do you
think the role of the writer should be?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">This is a monster of a
question, rob, and any answer risks being a portentous one. There are a few
writers who are able to capture the spirit of an age or the voice of a
generation. Clearly, I am not one of those. In any case, I would not wish to hoist
any role onto a writer, though they should take responsibility for what they say
and not use language to spread hatred.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I see my own role more to
create poem-stories and to take readers into a world which will make people not
know if they want to laugh or cry, or both at the same time</span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">. <a href="https://www.theparisreview.org/interviews/5636/the-art-of-poetry-no-92-james-tate" target="_blank">As James Tate famously said in an
interview with Charles Simic for <i style="mso-bidi-font-style: normal;">Paris
Review</i></a>, </span><span lang="EN-GB" style="color: #1d1e20; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">‘I
love my funny poems, but I’d rather break your heart. And if I can do both in
the same poem, that’s the best. If you laughed earlier in the poem, and I bring
you close to tears in the end, that’s the best. That’s most rewarding for you
and for me too.’</span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">8 - Do you find the process of
working with an outside editor difficult or essential (or both)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">It’s always good to get
suggestions from an editor. Even if I don’t agree, it will make me go back to my
work with fresh eyes. I am grateful to all my editors.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">9 - What is the best piece of
advice you've heard (not necessarily given to you directly)?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Turn up for the writing – every
day, if you can, but if not, then on a fairly regular basis. It’s easier for
poets – we can work in short spurts; much more difficult for a novelist. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Have faith in the poem or
story; trust in where it wants to go, not in where you want it to go. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">10 - How easy has it been for
you to move between genres (poetry to translation)? What do you see as the
appeal?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I see translation as being just
as creative as my ‘own’ writing. When I translate poetry into English, I am
making something new. The appeal and challenge of translation for me is to
create a text which is as true to the spirit and letter of the original as it
can be, but also reads naturally in English while at the same time preserving
the otherness of the original. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">11 - What kind of writing
routine do you tend to keep, or do you even have one? How does a typical day
(for you) begin?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I tend to wake early and just
handwrite while lying in bed. I build lots of notes like this to go back to
every couple of days – this is where the next stage of writing begins, assuming
there is anything in my early morning writing worth taking further; if not, no
matter: there will be the next day, or the day after that.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">12 - When your writing gets
stalled, where do you turn or return for (for lack of a better word)
inspiration?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I like to reread authors I find
liberating through their use of language, for example <a href="https://www.poetryfoundation.org/poets/john-ashbery" target="_blank">John Ashbery</a>, <a href="https://www.poetryfoundation.org/poets/mark-ford" target="_blank">Mark Ford</a>,
<a href="https://www.poetryfoundation.org/poets/sheila-e-murphy" target="_blank">Sheila E Murphy</a>, <a href="https://www.carcanet.co.uk/cgi-bin/indexer?owner_id=543" target="_blank">Jeremy Over</a>.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Or I will return to authors who
may reflect the mood I’m in, such as <a href="https://lucyhamiltonpoetry.co.uk/" target="_blank">Lucy Hamilton</a> or <a href="https://www.poetryfoundation.org/poets/mark-hyatt" target="_blank">Mark Hyatt</a> (both of whose
books I have reviewed recently for <i>PN Review</i>). <a href="https://www.poetryfoundation.org/poets/kenneth-patchen" target="_blank">Kenneth Patchen</a> is always
good to go back to.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Or I will write reviews –
paying attention to another author’s work is enriching and refreshing for my
own work.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Or I will cut up an article
from a magazine and work with the pieces. The great thing about cutup and
collage (although not a technique I use often) is that you never know where
it’s going to take you.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">13 - What fragrance reminds you
of home?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The smell of cat fur. I like to
dig my nose into the fur of our ancient cat, just as I did with cats we had
when I was a child.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">14 - 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?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I think I am still influenced
by different British 1960s TV series that I watched as a child, such as <i>The
Avengers</i> and <i>The Prisoner</i>: their zaniness, sense of menace, and
surreal quality, even if they weren’t strictly surrealist. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I’ve listened to blues, country
and rock ‘n’ roll since I was in my teens, and I’ve always had a bit of an
obsession with Elvis. This makes its way into my work, for example ‘Country’ in
</span></p>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">New York Hotel</span></i><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> or ‘In
the Anniversary TV Special, the Real’ in <i style="mso-bidi-font-style: normal;">Makers
of Empty Dreams</i>. For more on Elvis, see </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://fortnightlyreview.co.uk/2019/01/building/"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://fortnightlyreview.co.uk/2019/01/building/</span></a></span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Art also influences my work,
and on occasion I have written pieces in response to artists such as Joseph
Cornell, Edward Hopper and Giorgio de Chirico. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">15 - What other writers or
writings are important for your work, or simply your life outside of your work?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">So many writers have entered my
bloodstream and remained. I will read almost anything and gain <i>something</i>
from it. I suppose I am most drawn to ‘outsider’ literature; I read <a href="https://www.theguardian.com/commentisfree/2013/aug/04/book-changed-me-colin-wilson-outsider" target="_blank">Colin
Wilson’s <i>The Outsider</i></a> when I was in my teens, and that set the terms for
much of my initial plunging into the work of authors such as Dostoevsky, <a href="https://www.nobelprize.org/prizes/literature/1920/hamsun/biographical/" target="_blank">Knut Hamsun</a>, <a href="https://www.theguardian.com/books/booksblog/2017/oct/21/barbellion-journal-disappointed-man-multiple-sclerosis-ms" target="_blank">W.N.P. Barbellion</a>, Blake and Kafka, especially the latter. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Imagism and Surrealism also
helped shape my youthful world outlook, and I think this has very much stayed
with me. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In my early twenties, I read
authors such as <a href="https://www.britannica.com/biography/Jean-Rhys" target="_blank">Jean Rhys</a>, <a href="https://www.biography.com/authors-writers/ralph-ellison" target="_blank">Ralph Ellison</a>, <a href="https://www.britannica.com/biography/Aldous-Huxley" target="_blank">Aldous Huxley</a>, <a href="https://www.britannica.com/biography/James-Baldwin" target="_blank">James Baldwin</a>, <a href="https://www.britannica.com/biography/E-M-Forster" target="_blank">EM Forster</a> and <a href="https://www.britannica.com/biography/D-H-Lawrence" target="_blank">DH Lawrence</a>. Oh, and I loved <a href="https://www.penguinrandomhouse.ca/books/557977/ice-by-anna-kavan/9780143131991" target="_blank">Anna Kavan’s <i>Ice</i></a>. Once my
Italian was good enough (I worked in Italy for ten years), I got into Dante in
quite a big way after reading <a href="https://tseliot.com/prose/what-dante-means" target="_blank">TS Eliot’s essay on Dante</a> (his own personal
favourite among all his essays). I also worked for two years in Paris (teaching
English as a Foreign Language), and after around a year, I felt confident
enough to read authors such as Ionesco, Gide, Sartre, <a href="https://www.britannica.com/biography/Patrick-Modiano" target="_blank">Patrick Modiano</a>, <a href="https://plato.stanford.edu/ENTRIES/beauvoir/" target="_blank">Simone de Beauvoir</a>, and <a href="https://www.annie-ernaux.org/" target="_blank">Annie Ernaux</a> in the original French. And <a href="https://www.poetryfoundation.org/poets/pierre-reverdy" target="_blank">Pierre Reverdy</a>, not
imagining that thirty years later I would publish the first translation of <i style="mso-bidi-font-style: normal;">Le voleur de Talan</i> into English (see </span><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><a href="https://wakefieldpress.com/products/the-thief-of-talant"><span style="mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">https://wakefieldpress.com/products/the-thief-of-talant</span></a></span><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> ). </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And languages are of immense
importance to me. I should confess that I am entirely self-taught, and still suffer
from imposter syndrome. I picked up Italian, French and Polish by living and
working in Italy, France and Poland (though I am rusty in all of them now that
I have been living in the UK again for the last twenty or so years). Even my personality
will change according to which language I am speaking. When I have the rare opportunity
to speak Italian, I feel as if I am my thirty-year-old self again living in
Italy. </span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">16 - What would you like to do
that you haven't yet done?</span></b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br />
Learn German well enough to read Kafka in the original. I’ve recently started a
beginner’s class.<b></b></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">17 - 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?</span></b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br />
I only make a partial living as a writer and translator, so I have always had to
earn my living in different ways, some more conducive to my character than
others. I really just wish I hadn’t stopped writing for so long between my
early twenties and early forties. Apart from anything else, I believe that
writing helps me to be a better person. Writing makes me listen to my own voices,
and as a result helps me to listen better to the voices of others. <b></b></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">18 - What made you write, as opposed
to doing something else?</span></b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br />
That’s just the way the cookie crumbled.<b></b></span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">19 - What was the last great
book you read? What was the last great film?</span></b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br />
I’ve just finished reading<i> <a href="https://www.penguinrandomhouse.ca/books/297629/david-copperfield-by-charles-dickens/9780451530042" target="_blank">David Copperfield</a></i> – very late on in life, I
agree. I have to confess that it is only in the last ten years that I have
really taken to much of 19<sup>th</sup>-century English literature, to authors
such as George Eliot (especially <i style="mso-bidi-font-style: normal;"><a href="https://www.penguinrandomhouse.ca/books/45821/daniel-deronda-by-george-eliot-introduction-by-edmund-white/9780375760136" target="_blank">Daniel Deronda</a></i>), the Brontës (especially <a href="https://www.penguinrandomhouse.ca/books/18832/villette-by-charlotte-bronte/9780735254015" target="_blank">Charlotte Brontë’s <i style="mso-bidi-font-style: normal;">Villette</i></a>), and Wordsworth (especially <i><a href="https://www.scottishpoetrylibrary.org.uk/poem/prelude/" target="_blank">The Prelude</a></i>). I am not
sure why it took me so long to properly enjoy some of the great literature of
my own country. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">A very powerful and distinctive
book of contemporary poetry I read recently is <a href="https://www.shearsman.com/store/Lucy-Hamilton-Viewer-Viewed-p589740429" target="_blank">Lucy Hamilton’s <i style="mso-bidi-font-style: normal;">Viewer </i>|<i style="mso-bidi-font-style: normal;">Viewed</i></a> (Shearsman, 2023) – <a href="https://www.pnreview.co.uk/cgi-bin/scribe?item_id=11669" target="_blank">my review is just out in <i style="mso-bidi-font-style: normal;">PN Review</i></a>.</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The last great film I saw: <a href="https://www.imdb.com/title/tt17009710/" target="_blank"><i>Anatomy
of a Fall</i>, directed by Justine Triet</a>. A good one for writers to watch.</span></p>
<p class="MsoNoSpacing"><b><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">20 - What are you currently
working on?</span></b></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;">My writing is a bit quiet at the moment. I don’t have any
particular project going, but I expect one will emerge as long as I keep
‘turning up’ for the writing. </span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="color: black; font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Thanks so much for the
questions, rob!</span></p>
<p class="MsoNoSpacing"><span lang="EN-GB" style="font-family: "Garamond",serif; font-size: 12.0pt;"><i><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a></i><br /><br /></span></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-67678468989156306202024-02-25T08:31:00.016-05:002024-02-25T11:23:57.892-05:00Kate Greenstreet, Now that things are changing<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglX_iHt8fZMJiz-rE2ZE0zskeHe3gDug5swTSqbw0vRlQLWUX_ZR74vcSvSPUXfizMBSN1ChAPFrL0UO7WZPQagu_4eM3cGOGkHWgQ1-F0rspAcgTJ8Oau3MFfMYb1LYh9nTAA_aSoQiTTqgHjlMbfJds2w_7CQT2Gr2_Bpj9anOd4hdx8aTK4kA/s4032/IMG_7309.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="599" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglX_iHt8fZMJiz-rE2ZE0zskeHe3gDug5swTSqbw0vRlQLWUX_ZR74vcSvSPUXfizMBSN1ChAPFrL0UO7WZPQagu_4eM3cGOGkHWgQ1-F0rspAcgTJ8Oau3MFfMYb1LYh9nTAA_aSoQiTTqgHjlMbfJds2w_7CQT2Gr2_Bpj9anOd4hdx8aTK4kA/w449-h599/IMG_7309.JPG" width="449" /></a></div><p><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"><a href="http://www.kickingwind.com/" target="_blank">American poet Kate Greenstreet </a>was good enough
to send along her latest title, the hand-sewn full-sized chapbook <i>Now that
things are changing</i> (arrow as arrow, 2024), her first publication in quite
some time since her fourth full-length title, <a href="https://www.spdbooks.org/Products/9781934103746/the-end-of-something.aspx" target="_blank"><i>The End of Something</i></a> (Boise
ID: Ahsahta Press, 2017) [<a href="http://robmclennan.blogspot.com/2018/01/kate-greenstreet-end-of-something.html" target="_blank">see my review of such here</a>], the fourth in a quartet
that suggested an ending, just as this small collection teases at a kind of
pivot, perhaps. A pivot into and towards something further, else. <a href="https://touchthedonkey.blogspot.com/2017/02/ttd-supplement-73-seven-questions-for.html" target="_blank">As she wrote
of that fourth collection as part of her 2017 interview in <i>Touch the Donkey</i></a>,
realizing that, through composing <i>The End of Something</i>, as she offered, “[…]
I was putting down a fourth corner to define a formerly open-ended space.” There
was a finality there that certainly felt final, suggesting she was simply
moving on to other projects, other things, and would return to poetry in her
own way, in her own time, and perhaps, through this, we are inching closer to
that time. In certain ways, <i>Now that things are changing</i> exists as a
covert publication, as Greenstreet has been seemingly-silent on publishing
poems since the publication of <i>The End of Something</i>, <a href="http://arrowasaarow.blogspot.com/" target="_blank">and the final arrow as arrow blog post in 2010 leads to a website that no longer exists</a> (and I can’t
find contacts for series editors Michael Slosek or Luke Daly, despite whatever breadcrumbs
the internet might offer). Do any of them even exist? [UPDATE: <a href="https://arrowasaarow.com/" target="_blank">their website is actually here</a>] Of the fifteen
publications listed at the back of <i>Now that things are changing</i> (numbered
sixteen in the series), the first thirteen of these occasional chapbooks appeared
semi-regularly, from 2006 to 2014, followed by Cedar Sigo’s <i>On the Way</i>
in 2021, Hannah Brooks-Motl’s <i>Still Life</i> in 2022, and now this,
appearing with the date “Winter 2024.”</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">We were only going to be
there a couple of days, but the first<br />thing I did was scrub the
wall above the stove, wash the floor,<br />and move the furniture
around. I put the big chair in a corner<br />of the kitchen, where the
light was best. Then I took a bath. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">What was possible that never
became actual?<br />What else was real?</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">Either
way, perhaps I should just hold on to the fact that this small chapbook of
poem-fragments rests in my hands. <i>Now that things are changing</i> is
similar in structure and tone to her prior published poetry, self-contained
lyric first-person sections of meditative commentary and speculation that sit
one to a page and allow for the interaction, almost accumulation, of playing
cards: less a narrative trajectory than a game of poem-fragment solitaire, each
new piece reacting to all that came prior. “Lately I’ve been working in
silence.” she writes, close to the opening of the collection. “No music, hardly
/ reading. Walking in the mornings, almost no one on the street. / Abandoned
storefronts, barber shop, a laundromat. A few / parked cars that never move.” The
poems sit as three clusters of seven poems each (twenty-one in total),
suggesting a measure of some sense of narrative trajectory, even as these poems
lean into a kind of ongoing field notes on life on earth, silence, interiority
and the body. Throughout, these poems, this chapbook, offer a curious kind of
catch-all that manages to be simultaneously composed of self-contained units
and building blocks toward something larger. “You can’t deny plot.” She writes,
as part of the third cluster, “The way it moves. The way it pulls down dirt and
trees from / both sides of the river.”</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">It's been snowing all
day. Last night, a big fire several blocks<br />away. You can’t really
talk about faith without coming to the<br />topic of being forsaken. <br /></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;">I made a list with the
heading: What do we look for in<br />relationships? The last thing I thought of was corroboration.<br />Plot development was
number two.</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12pt;"> </span></p>
rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-31121860014802279212024-02-24T08:31:00.010-05:002024-02-24T08:31:00.151-05:00Willie Lin, conversations among stones<p> <!--[if gte mso 9]><xml>
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</p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><b><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Birth</span></b></p>
<p class="MsoNormal" style="margin-left: 36.0pt;"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;">Already, the crops are
failing.<br />The crows shuttling back
and forth,<br />breaking branches,
dropping stones.<br />How easy to read sadness<br />into the empty room. It is
yours.<br />All season the family has
been filling<br />pots and jars with river
water<br />heavy with red silt. They
are tired<br />of that color. Cover the
moon.<br />It is good to be inconsolable.<br />It is good to leave the
fish uneaten,<br />to sing a little, sweep
the floor.<br />Traces of breath,
abundant as winter,<br />the uncreated memory of
you.<br /><br /></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-family: "Garamond",serif; font-size: 12.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUvba7w9qrASSR5L0rUWnc8NIhuu0JMhm6FS8AUa60ltmSNTEIGSK1wCnf_1-tkvH2lNNmh4xlYF9YLgFlVMSByimuiBiS7jCrGpYo3fFESKB1fTM43Qnap8nVjgrSVA6-ReUHgTnrPaLJYmAdm1orBeTvkaMNo30qD46L33hVa4gyaaTUH5PtTQ/s480/ConversationAmongStones_CVR_LG_large.webp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="373" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUvba7w9qrASSR5L0rUWnc8NIhuu0JMhm6FS8AUa60ltmSNTEIGSK1wCnf_1-tkvH2lNNmh4xlYF9YLgFlVMSByimuiBiS7jCrGpYo3fFESKB1fTM43Qnap8nVjgrSVA6-ReUHgTnrPaLJYmAdm1orBeTvkaMNo30qD46L33hVa4gyaaTUH5PtTQ/w347-h446/ConversationAmongStones_CVR_LG_large.webp" width="347" /></a></div>The
full-length debut by <a href="https://fourwayreview.com/a-story-ending-with-an-offering-by-willie-lin/" target="_blank">Chicago-based poet Willie Lin</a>, following the chapbooks <i>Lesser
Birds of Paradise</i> (MIEL) and <i><a href="https://nupress.northwestern.edu/9780810131033/instructions-for-folding/" target="_blank">Instructions for Folding</a></i> (Northwestern University
Press), is <i><a href="https://www.boaeditions.org/collections/willie-lin/products/conversation-among-stones" target="_blank">conversations among stones</a></i> (Rochester NY: BOA Editions, 2023),
a collection of meditative lyrics composed in clear narratives with direct
purpose. “A knife pares to learn what is flesh.” the two-line poem “Dear” offers,
“What is flesh.” There’s a remarkable way Lin’s poems unfold, unfurl and slowly
reveal, offering an intriguing patience, pause and cadence. “The things in my
life / I remember with perfect clarity:,” she writes, but I’d offer that these
poems themselves are wonderful examples of that “perfect clarity” she suggests,
as Lin composes first-person intimacies of thought and narrative that work to comprehend
the world, both internal and external, and how one finds and secures one’s place.
There’s a lot of considering within these poems, and a lot to consider. “Now
when the wind comes,” she writes, to open the poem “Brief History of Exile,” a
six-page expansive lyric set at the heart of the collection, around all else is
structured, “I lean into it. / I’m learning to be that pure, relinquish or
carry without // seeming to.” This is a book of tethering and of feeling
unplaced, untethered, attempting to better comprehend those connections, and
the very notion of belonging, instead of automatically attempting to latch on
to what might come along next. “I thought if I / could desire less / I could be
happy.” she writes, to open the poem “Gauntlet for the Left Hand,” “I was
moving toward / an idea.”<br /><br /><p></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0tag:blogger.com,1999:blog-5526999.post-52755893313613936052024-02-23T08:31:00.035-05:002024-02-23T08:31:00.128-05:0012 or 20 (second series) questions with Clint Burnham<p><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_agMAT6jwQxVcsr5l-Zxx4QgUm1i9MvAv1PWjzVSbwjAyM6_vi2LouRESMUzn2kCz9XslXlyaWxYCA9GqFIN-0Nqszt2wa74sRXP2ap7fVROcILd3mLskU0UYlWNB-R8o-Mmm5X4qXuEMAt-K7k50Ai3RsGHAJS64ABA0ZhZQK54inWkCRmT-w/s826/thumbnail_image001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="600" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_agMAT6jwQxVcsr5l-Zxx4QgUm1i9MvAv1PWjzVSbwjAyM6_vi2LouRESMUzn2kCz9XslXlyaWxYCA9GqFIN-0Nqszt2wa74sRXP2ap7fVROcILd3mLskU0UYlWNB-R8o-Mmm5X4qXuEMAt-K7k50Ai3RsGHAJS64ABA0ZhZQK54inWkCRmT-w/w335-h462/thumbnail_image001.jpg" width="335" /></a></span></b></div><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><a href="https://www.sfu.ca/english/people-dir/faculty/clint-burham.html" target="_blank">Clint Burnham</a></span></b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
has lived in Vancouver since 1995.</span><p></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">My
first chapbooks were published by <a href="http://robmclennan.blogspot.com/2021/07/surrealist-poets-gardening-assoc-1984.html" target="_blank">Lillian Necakov’s Surrealist Poets Gardening Assoc</a> and <a href="https://pennyspoetry.fandom.com/wiki/Daniel_Jones" target="_blank">Daniel Jones’ Streetcar editions</a> – Lillian published <i>The And that
Cain Forgot </i>and Jones did <i>The Toronto Small Press Scene </i>– both in
1990, the first was minimalist fiction, which I’ve continued to do up to my
recent <i><a href="https://www.anvilpress.com/books/white-lie" target="_blank">White Lie</a> </i>book from Anvil (2021) & the book of mine you just
did (<i><a href="https://abovegroundpress.blogspot.com/2024/02/new-from-aboveground-press-old-man-new.html" target="_blank">The Old Man: New Stories</a> – </i>2024) and the second a critical account
of local publishing. So there is a certain thru line – I continue to write
fiction/poetry, mostly published with small(ish) presses like Coach House (back
20 years ago), Arsenal, Anvil, Book*hug; and I write criticism, mostly
published by Canadian or international presses (in anthologies from
McGill-Queen’s University Press, but also Routledge, Bloomsbury, Palgrave). </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">2
- How did you come to poetry first, as opposed to, say, fiction or non-fiction?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Again,
poetry/fiction AND criticism – at the same time, in the late 80s. For me, some
of the poets that came out of <i><a href="https://en.wikipedia.org/wiki/TISH" target="_blank">TISH</a></i> and the L=A=N=G=U=A=G=E and from my
generation, the <a href="https://en.wikipedia.org/wiki/The_Kootenay_School_of_Writing" target="_blank">KSW</a>, emulated that “impossible” non-relation (as we say in
Lacan-speak) between criticism and creativity, a scholar and a poet (but not a
scholar-poet). A scholar-poet, in my reckoning, means either just a bougie
lyric poet employed by the uni, OR the poems full of obvious or encoded
versions of, say, one’s research on TS Eliot or Donne or <i>The Iliad</i> (or,
just as bad, theory code words like “grammatology” or “affect”). But my origin
story is that when I was in high school in Regina, Sask., in the late 1970s, I
came across a <a href="https://www.billbissett.com/" target="_blank">bill bissett</a> poem in an anthology, (“<a href="https://spokenweb.ca/bill-bissett-on-ckvu-tv-september-1978/" target="_blank">th wundrfulness uv th mountees our secret police</a>”?), I started writing lower-case, phonetic poems,
submitted a wack of them to a Sask. arts board manuscript service, can’t
remember the response. My high school teacher at the time, Ruth Robillard, was
amazing, also had me reading Camus & <a href="https://www.theguardian.com/books/2011/aug/28/michael-ondaatje-the-divided-man" target="_blank">Ondaatje</a>. <a href="https://invisiblepublishing.com/product/long-continual-argument/" target="_blank">John Newlove</a> came to read –
he was writer in residence at the Regina public library (78? 79?). I moved to
Victoria in 1980, at military college for a year before getting the boot, then
fell in with writers in the city and around the university, including <a href="https://abcbookworld.com/writer/harris-gail/" target="_blank">Gail Harris</a>, <a href="https://www.clinthutzulak.com/" target="_blank">Clint Hutzulak</a>, and the poet <a href="https://www.scottishpoetrylibrary.org.uk/poet/stephen-scobie/" target="_blank">Stephen Scobie</a> who also taught. Then
Toronto, to go to grad school, in the late 1980s, when again, fell into the
small press community there, which led to a few chapbooks already mentioned.
After that it’s book books, in Toronto and then Vancouver. </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
start in the Notes app, usually. (I’m very ADHD so keep getting distracted,
copy down things, forget to finish this question., come back to it months
later):</span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Certainly for <i>The Old Man: New
Stories</i>, the project of mine you just published (thanks rob!), but also <i>The
Goldberg Variations</i>, my poetry collection due out this spring (2024) from
New Star, that was the origin. Cutting & pasting from other texts to
friends & vice versa (when some of the stories in <i>Old Man</i> first
occurred/were written, I’d send them to friends by WhatsApp or Signal etc. For <i>The
Goldberg </i>I took what were written in bold heading font for the Notes app,
and then dropped them all into a Word file and kept the line breaks from the
app (so, in media studies lingo, the “affordances,” what’s SOP), then started
moving them around, first into sonnet like things of 7+7 12+2 or 8+6 blocks,
which became strings for the first three poems (“No to a harm rinse,” “Wedding
hi viz,” and “Passion waged” – this was being put together in Berlin in the
summer of 2022 so “Wedding” refers to that neighborhood), then strings of
7x2line couplets (“History b’y” – or Newfie for History boy). “5.2 cop crows”
was then just single lines separated, and the next two poems “Back-out drink”
and “Looks aren’t” were written as one line per page, compressed for reasons of
political economy. “No to Nato,” the next poem (title taken from Wedding
graffiti) then had two 7 line columns: you can read across or down. This was
roughly half-way thru the manuscript so then I started fucking shit up. “B.A.”
(named for a character in the great social democratic 80s tv show <i>The A-Team</i>)
was structured like that vile contribution of<span style="mso-spacerun: yes;">
</span>Vancouverism, the podium and tower condo – so thin lines interspersed
with fatter ones, indented (with a few that ran over the end, which I always
like, so you get:</span></p>
<p align="right" class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: right; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">forced feeding scene, orderly flicking
cigarette ash onto food<br />in funnel in hose in<br />nostril serves me right just took the
damned documentary<br />film course</span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">which takes a memory of revulsion
watching Frederick Wiseman’s <i>Titicut Follies </i>in a film course in the
1980s, and exceeds the page just as the visual described in the poem exceeded
both the patient’s and my own bodies. </span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The poems that follow, “QUEL<u>N</u>SEN”
(historic centre of the Kòmoks people) strings up the various sonnet forms (7+7
12+2 or 8+6 blocks etc), “More likely a stroller” and “Cherry” are one-offs,
“Coq. (pron. coke)” (as in Coquitlam or kwikwetlam) and “Frownlines get Marx-y”
are working with the double columns (which, again, had much moving text
around). Followed by “Naum Gabo!” both a gnarly Russian futurist whose
cardboard structure I saw (still preserved, 100 years later, isn’t that crazy)
and a song by Vancouver art-punks U-J3RKS, more futzing around with Vancouver
condo-types, and finally “stéy</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">ə</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">s LOSER” (the former
an island in the Salish Sea, in the W</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">̱</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">S</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: Garamond; mso-fareast-font-family: "Times New Roman";">Á</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">NE</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: Garamond; mso-fareast-font-family: "Times New Roman";">Ć</span><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> language, the latter
a 90s grunge ref., natch), where it all falls apart/comes together, take your
pick.</span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">NB re working from Notes app, that’s
embedded in “5.2 cop crows”: </span></p>
<p class="MsoNormal" style="margin-left: 56pt; mso-layout-grid-align: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">why if Nate<br />Mackey writes his poems in<br />his iPhone notes app is that<br />cool? and who remembers<br />Ho Tak Kai? but if I do it<br />just looks like thud? I mean this? </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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? </span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
was asked about this but, continuing what I said above, don’t be too knowing.
Or when you are too knowing, make that its own thing, so you’re not too knowing
about being knowing. You never know what you’re doing in a work. Or when you
think you do, you become one of those bloviators, telling you what their work
means. </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">7
– What do you see the current role of the writer being in larger culture? Do
they even have one? What do you think the role of the writer should be? </span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">This
is a tough one, because I don’t like directly political writing or art, but I
do think writing and art has a politics. For me, when it shows up in the work,
it may be content, or it may be form. The use of quick commentaries or
observations via my phone to the collection you published, that process, seems
to me to be the politics of <i>The Old Man. </i>I find if I “intend” or “try”
to write a political text, it fails. It has to nominate me, not the other way
around. Or: the unconscious. </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">8
- Do you find the process of working with an outside editor difficult or
essential (or both)? </span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
love being edited. It’s very carnal.</span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">9
- What is the best piece of advice you've <s>heard</s> given to others?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
rarely send to places I don’t have a relationship with. </span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">19
- What was the last great book you read? What was the last great film?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I
really like <a href="https://www.tiktok.com/@thisissimonking/video/7250943970405092614?lang=en" target="_blank">Simon King’s TikTok on Northern Alberta</a>. <a href="https://bookshop.org/p/books/our-strangers-stories-lydia-davis/20080617" target="_blank">Lydia Davis’ </a><i><a href="https://bookshop.org/p/books/our-strangers-stories-lydia-davis/20080617" target="_blank">Strangers</a>.
</i><a href="https://www.imdb.com/title/tt7160372/" target="_blank">Jonathan Glazer’s film<i> Zone of Interest</i></a>. Just finishing <a href="https://www.emilyrcwilson.com/the-iliad-sept-2023" target="_blank">Emily
Wilson’s translation of </a><i><a href="https://www.emilyrcwilson.com/the-iliad-sept-2023" target="_blank">The Iliad</a>. </i></span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">20
- What are you currently working on?</span></b></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman";">A continuation of/sequel to <i>White
Lie</i>, more super short stories. Now published by you!</span></p>
<p class="MsoNormal"><i><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman";"><a href="https://robmclennansindex.blogspot.com/2009/06/12-or-20-questions-second-series.html" target="_blank">12 or 20 (second series) questions;</a><br /><br /></span></i></p>rob mclennanhttp://www.blogger.com/profile/07958889643637765864noreply@blogger.com0