Erica Charis-Molling at Mass Poetry has published a wonderful series of interviews with local small presses that publish poetry. Small presses are the lifeblood of the poetry world, and poets who publish with them often receive more support and creative control than with nationally known publishing houses. Also, buying local is good for so many reasons. Follow the links below to read about these vibrant, innovative organizations.
Editor and Director Rebecca Hart Olander
Human Error Publishing
Founder Paul Richmond
Co-founder Randolph Pfaff
Rose Metal Press
Co-founders Abigail Beckel (Publisher) and Kathleen Rooney (Editor)
Ibbetson Street Press
Director Doug Holder
Central Square Press
Editor Enzo Silon Surin
Editor Elizabeth Murphy
Editor Elizabeth Bradfield
Cervena Barva Press
Founder and Editor Gloria Mindock
All that energy from National Poetry Month seems to have spilled into May and June this year. Of special note:
- U.S. Poet Laureate Tracy K. Smith reading at Harvard TODAY, May 2
- Rafael Campo in Cambridge Monday, May 6
- Gabrielle Calvocoressi in Belmont Thursday, May 23
- New Boston Poet Laureate Porsha Olayiwola in Roslindale Thursday, May 23
- Cervena Barva’s monthly readings at the Somerville Arts at the Amory
Thanks as always to Daniel Bouchard for compiling these listings.
Thursday, May 2, 4 – 5:30 pm
Tracy K. Smith
Harvard Arts Medal Ceremony
5 James St.
free ticket required
Thursday, May 2, 5:30 pm
Dawn Lundy Martin
McCormack Family Theater
70 Brown St.
Continue reading “May 2019 and June 2019 Boston Area Poetry Readings”
Last semester I wrote a craft annotation on the subject of poetic structure and nonlinear time. Now I can see that this is very much an element of lyric poetry. Where narrative poetry moves like a road, lyric poetry unfolds like a flower, spiraling out from a single image or moment into a flurry of associations and other moments.
In The Flexible Lyric, Ellen Bryant Voigt calls out compression and song as two characteristics of lyric poetry. Emily Dickinson’s poems feature both of these qualities prominently. Her poems have a basic pattern: quatrains with alternating iambic tetrameter and iambic trimeter lines. But the thing that set her apart from the dominant aesthetic of her time was the way she broke from the pattern. What her contemporaries might have called spasmodic, imperfectly rhymed, and lacking in form, we today consider a masterful interplay of meaning and music. Some of her poems adhered more closely to convention than others. Consider “Because I could not stop for Death” (poem 712):
Continue reading “Song and Compression in Emily Dickinson’s Poetry”
I’ve been interviewing authors and poets on this website for quite some time, but having the opportunity to do so for The Rumpus really inspired me to up my game. I corresponded with Jennifer Martelli about her new book My Tarantella for about three weeks in order to have a true back-and-forth with her. The book spirals around the story of Kitty Genovese, a notorious murder that took place in the late 1960s, ostensibly while scores of people heard the attack and did nothing to come to her aid. I learned a lot I hadn’t known about Kitty, including the fact that she was a lesbian. Jennifer clued me in to a beautiful piece of theater and dance that tells the story of both Kitty and her lover, Mary Ann Zielonko.
My editor at The Rumpus also gave the interview a great headline–A Female, Bone-Deep Obsession: Talking with Jennifer Martelli.
New since the last listing:
- James Grigg and Heather Dupont in Gloucester (11/7)
- Amanda Doster, Anna M. Warrock, Richard Wollman, and Janet MacFadyen in Turners Falls (11/9)
- Kate Colby, Amanda Cook, and Kate Tarlow Morgan read Charles Olson in (of course) Gloucester (11/10)
- Gloria Mindock, David Blair, and Bert Stern in Cambridge (11/15)
- Susan Eisenberg in Jamaica Plain (11/15)
- Carla Schwartz in Cambridge (11/16)
- Peter Fallon and David Ferry in Boston (11/27)
- David Ferry and Bert Stern in Somerville (12/3)
- Troy Jollimore and Heather Altfeld at MIT (12/12)
Also please note:
- Gabrielle Calvocoressi’s reading with Wendy Drexler at Belmont Books on November 15 has been cancelled.
- Tino Villanueva’s reading at the Omni Parker House in Boston has been moved from November 10 to November 17.
Thursday, November 8, 6 pm
Kate Colby and Anselm Berrigan
Thursday, November 8, 7 pm
Susan Stewart delivers the CD Wright Lecture
McCormack Family Theater
70 Brown St.
Thursday, November 8, 7 pm
Recital of Eliot’s Four Quartets
Carol & Park B Smith Hall Rehm Library
Continue reading “Boston-Area Poetry Readings for November and December 2018”
three crab-apple sisters
standing close together
lichen on their dead branches
and on their live ones
tiny yellow fruit
The latest chapbook from poet Sarah Nichols, Dreamland for Keeps (Porkbelly Press, 2018), uses found poetry to reclaim a voice for Elizabeth Short, victim of a brutal murder in 1947. The gruesome details of Short’s death led to sensationalized media coverage and the nickname “The Black Dahlia.” Nichols lifts words from a novel inspired by the case and remixes them into a pointillist narrative–Elizabeth’s own story, rather than the story told about her. The resulting poems are spare, bold, and utterly riveting. Nicci Mechler of Porkbelly Press enhances the manuscript’s artistry with a beautifully designed, handmade chapbook.
Sarah Nichols took some time to discuss the book, her writing process, and the political implications of her work with me via email.
Continue reading “Interview with Sarah Nichols, Author of Dreamland for Keeps”
An issue I’ve struggled with time and again is how to incorporate multiple scenes in a single poem while still maintaining unity and clarity. Dividing a poem into separate sections with roman numerals or asterisks may work, but not all poems are long enough to justify multiple parts, nor does this method evoke the seamless way a particular sense perception or situation can trigger associations with another time and place. Proust and his madeleine are a famous example: the taste of a cookie kicks off the epic, multi-volume novel Recherche du Temps Perdu (Remembrance of Things Past). Few modern poets have the luxury of such sprawl. But regardless of the length of the poem, one must still learn how to deal with nonlinear time in a way that mitigates the possibility of a confused reader. We experience time in a single dimension (past to present), but the way we think about time is multi-dimensional. It includes past, present, future, and possible divergences from a single outcome.
I set out in search of poems that dealt with the issue of multiple moments (past, present, future, and possible). Continue reading “Craft Annotation: Nonlinear Time and Poetic Structure”
brilliant red tree buds
bobbing in the April wind
lift my spirits up
As I discussed in my craft annotation on Rilke, modern poetry favors a particular aesthetic quite the opposite of the era preceding it. The rise of the Imagist movement in the early 20th century heralds this shift. As the name implies, the movement was toward concrete, visceral imagery and away from sentimentality and meditations on abstract concepts such as love or death – or if the poem is a meditation on love or death, it’s never explicitly named as such. In the preface to the 1915 anthology Some Imagists Poets, the school listed some of its common principles. These two in particular stood out for me:
- To present an image (hence the name: “Imagist”). We are not a school of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous. It is for this reason that we oppose the cosmic poet, who seems to us to shirk the real difficulties of his art.
- To produce poetry that is hard and clear, never blurred or indefinite. [i]
William Carlos Williams explores this principle in his long poem “Paterson,” Continue reading “Craft Annotation: Szymborska, Imagery, and Abstraction”