In January, I had another ekphrastic piece, this time a poem, taken at Visual-Verse. I neglected to mention last time that we only get one hour to write these to the art prompts. It’s a very intense process. https://visualverse.org/submissions/the-tournament/
Main Street Rag has published my review of Justin Hamm’s Drinking Guinness with the Dead. While I can’t post a copy of the review as it’s a print issue, I can tell you I give it two thumbs up. Hamm’s work is really tied to the Midwest and its vast once-farmland, so while anyone would love it (I think), Midwesterners would especially cherish it.
My daughter’s wedding was a year ago this coming Sunday. So look what I made for daughter and son-in-law. A wedding junk journal.
I had to find this nifty little suitcase after I realized that with the fragility of the book (cuz junk) and their lifestyle the book wouldn’t last long without protection. I was able to add in their wooden ring boxes, little place cards, extra photos, and the napkins from their previous courthouse wedding where we drank blue prosecco and ate cookies. Last year’s wedding was the whole shebang because that’s what they like.
See inside on the left? That’s a little clutch I made out of plastic grocery bags to store the cassettes of their wedding music.
That project was loads of fun, but now I’m about hearted and laced and sweetthinged out.
I asked Millicent Borges Accardi to sit for an interview about poetry in general and her newest book, Quarantine Highway, specifically. This book was written during the first part of the Covid-19 pandemic. I think you’re going to be as interested in her answers as I was!
How did you come to poetry? Did you read poetry as a child? Write it? Or did you come to it later?
My first grade teacher Hope Virtue was the daughter of Harlem Renaissance poet Claude McKay and most days she read poetry to the class—whether we liked it or not.
As a teacher, she ran a tight ship, regularly ordering boys into the corner with their hands on their head, and Mrs. Virtue had particular punishments for me and my friends (for talking too much), one trick was she made us sit at our desks and hold our lips shut (like ducks) so, in that sense, she was not my favorite teacher –but the poetry?
Especially on rainy days, Mrs. Virtue would close the grey venetian blinds and read verses her father wrote. Perhaps magical, but I disliked the teacher at the time so my opinion is complicated. Yet, looking back, I feel blessed. For days spent so early in my life, to know poetry in that way. She never talked down to us. She just read poem after poem. Such a gift now, I think.
As far as Luther Burbank school knew, poetry meant that we stood up and recited “Trees” by Joyce Kilmer from our textbook, which was nowhere near as interesting as the verses Mrs. Virtue read to us, like “Courage,”
O lonely heart so timid of approach, Like the shy tropic flower that shuts its lips To the faint touch of tender finger tips: What is your word? What question would you broach?
Your lustrous-warm eyes are too sadly kind To mask the meaning of your dreamy tale, Your guarded life too exquisitely frail Against the daggers of my warring mind.
There is no part of the unyielding earth, Even bare rocks where the eagles build their nest, Will give us undisturbed and friendly rest. No dewfall softens this vast belt of dearth.
But in the socket-chiseled teeth of strife, That gleam in serried files in all the lands, We may join hungry, understanding hands, And drink our share of ardent love and life.
She wore turbans, dangly earrings and colorful robes and gestured with arms adorned by heavy brass and gold bracelets (that rang like thick bells when she moved). And, when we were good? There were scoopfuls of pastel marshmallows (taken from a glass jar on her desk) and more poetry. There was always poetry.
Your new book, Quarantine Highway, probes deeply into how it feels to live in a now that is radically different from a then that we were removed from only by months. Although we are almost three years from the start of Covid now, your poems make me remember how different things were before spring 2020—because we still have not gone back to before: “Do you / remember that time when we held everything / in our arms tightly, as if we knew what we were talking about.” There is a metaphysical sense to these poems that seems different from your last book, Through a Grainy Landscape. Did you plan that or model it on a certain school of poetry or a certain poet’s work? Or was it that you were writing these during the first year of “quarantine” and were questioning our concepts of existence, living, and knowledge?
In a way Grainy Landscape was modeled after the poems and writings I was reading in translation from the Portuguese and the work was less desperate and gentler. There was a hope and an ease and less franticness to my life and my writing There seemed to be an endless pathway of hope, that anything was possible, the lush landscape of Portugal and The Azores—with influences by writers such as João Miguel Fernandes Jorge, Armando Silva Carvalho, Margarida Vale de Gato and the title taken from lines in a poem Tiago Araújo:
I’ve driven all night through a grainy landscape, on a motorway with dim and orangey lights
And the tone for the book is inspired by this passage:
The light crossing the room between
the two windows is always the same, although
on one side it’s west – where the sun is now – and on
the other it’s east – where the sun has already been.
But? the Covid and its fall-out (especially) impacted our world and put a lid on my writing. I would say. The work in Quarantine Highway are more self-contained and fenced in. Quarantine was written as a way out. Attempting to reach out and create connections, to deal with what everyone says is “the new normal,” a phrase I hate, as if things were now different and stuck. Forever stuck.
But then also, Good luck? Bad luck? Too soon to tell. There were a lot of pandemic tragedies and also a re-setting of how we do things as a society. One bright spot was, when the national parks were shut down, miraculously native plants and wildlife returned. The same is true for waterways. So many rivers and creeks, with an absence of tourists and fishermen suddenly rejuvenated. And people too, reanalyzed their work-life recipes and started to make different choices, more people working remotely and children being homeschooled, there was more reading and baking bread. A slowing down of the Type A lifestyle that a whole generation of people had been used to—People began to reconsider what they valued versus money and material goods, health and quality of life.
I was desperate to reach out, when writing Quarantine Highway, through social media, Zoom meetings and literary events, books. The written word. Latching onto old habits like knitting and growing food from seed.
The poems in Quarantine Highway were inspired by the work of Emily Perez, Rosebud Ben-Oni, Carl Marcum, Amy Sayre Baptista, Norma Cantu, Ángel García, Eduardo C. Corral, Carolina Ebeid, Diana Marie Delgado, Sheryl Luna, Laurie Ann Guerrero, Luivette Resto, Leticia Hernández-Linares, Ire’ne Lara Silva, Raina León, Javier Zamora, Juan Morales–
Here’s the final poem in the book (that I think lends a sense of hopefulness)
the hard-bad opposite of a world hunch or an omen,
the silent-low sense of doom to come,
a spirit arising in the country we
call home, the desire for isolation,
desperately to be different, the
unexplored nonsense of late.
This is the air in the pastel room when we
are enclosed and locked up by
an intense wondering and fear
of comfort fear of letting our guard
down and forgetting to protect ourselves
from nearly everything we can imagine,
even the scrape of skin upon
our hands, the whispered hello
of a neighbor or a child playing in the creek
below the yard where there are dirt
banks instead of lawn. We are who
we choose to become, are becoming
or perhaps we mean we are who we
are sentenced to be, a corona crown
of in the if and now and meant for always
that time is a path to follow, as we near the
day of the year when June rises
her longest glance of a day and tells us
it is all right to enter.
At the same time that these poems seem metaphysical, they contain beautiful and surprising images of the physical world. In the poem “Yes it’s Difficult,” I was particularly struck by a description of how we interacted with each other before Covid: “. . . it was how we did things then, / sighing air, sipping in fine water droplets / into each other’s lungs.” It seems unimaginable now. Sorry, no question. I just really wanted to say how much I loved these images in the book.
Thank you! I appreciate that–
As far as the question, I had read about The Spanish Flu, from 1919, where 500 million people or one-third of the world’s population became infected with the virus, or 25%–30% of the world population, with over 50 million deaths, where COVID-19 has infected nearly 60 million , with 1.3 million deaths. Both pandemics significantly changed society, and nearly no one was writing artifacts about the Spanish Flu—perhaps the devastation was too much to document? And, for me, there was comfort in writing down what was and is going on, documenting the experience, creating artifacts gave me some comfort.
In the middle of that, I was re-reading TS Eliot’s “The Wasteland,” and so many parallels came up for me that I had missed when I read the work originally in college. The sparse imagery, the talks of destruction. Although published in 2022, the poem is an artifact of the aftermath or carnage from the first world war, and the Spanish Flu, among other things, of course.
From an essay by Michael Austin, “The Wasteland” is a poem that imagines what it would be like to be trapped in the wounded land – one incapable of growth, productivity, or renewal. The young Eliot saw this as a metaphor of the modern malaise …
There’s a juxtaposition in some of the poems of scenes from your youth. I found this fascinating and would love to hear you talk about it a bit.
I suppose being cooped up, in quarantine, sends one back to memories. Like being in a cage– all you have to work with are memories so you look back for analogies. You look back for examples from life because outside life is in the past. All we have is the past. Our memories of how the “outside” world used to be, before.
Some of the poems in this collection seem to have begun from a line in the poem by another poet, such as Jane Kenyon, Inês Fonseca Santos, and Pablo Neruda. I began to wonder how you begin a poem. Is there usually a mental “irritant” in the way that a pearl is formed in an oyster? Where do your poems originate?
It depends on the poem. Sometimes a line comes to me or I overhear a phrase, or read a word. An image dreamt. Many phrases drift in and out of my consciousness and/but it is the images that stick with me that I tend to write about and pursue further. Many of the poems in Quarantine Highway were inspired by poetry I was reading especially during the early days of Covid when we were all newly terrified and looking for hope and a way out on the written page.
Much of your work involves your identity as a Portuguese-American poet. I’ve read about your connections, but I’d love to hear your description of how you relate to the identity, how it informs your poetry, and your involvement in the Portuguese-American poetry community.
Portuguese-ness, is or can be complicated– Most Portuguese in the US are from The Azores, not the mainland and there were three “waves” of immigration to the US, the last significant influx being in the 1970s, and most of the migrants sought work in industries that did not require a formal education: textile mills and whaling (New Bedford), tuna fishing and dairy farms (California)—So as a child I was discouraged from learning Portuguese or asking too many questions. Because being Portuguese was seen as being “less than” or lower class. I was admonished to BE American! And yet, I was so interested in my Portuguese heritage, fascinated by it.
My dad was dark skinned and –at Sears (where he worked)– his friends were Mexican -and he easily moved between Spanish and Portuguese languages. We went to festas in Artesia and San Pedro, San Diego — BUT I did not live in a distinctly Luso area like Ferry Street (in New Jersey), “Little Portugal” in San Jose or New Bedford, MA (where the ATMS are in Portuguese)—
In junior high, I was bused across town because of my Hispanic last name, Borges. For me, personally, as a adult and as a writer I have felt freer to explore my own identity by participating in Portuguese communities, giving readings and workshops, like the Kale Soup for the Soul cooperative, a group of writers reading work about family, food and Luso culture. The terrific lectures and talks that Diniz Borges at the Portuguese Beyond Borders Institute presents– In the past twenty years, I have interviewed maybe 60 or 70 writers, artists , actors, musicians in the Portuguese community (in an effort to understand where I come from).
Here is an older poem that illustrates my childhood, trying to explore my own identity (from Only More So, Salmon Poetry 2016):
How does being a Los Angeles poet inform your work? I wondered this, in part, because of the title of this book. I lived in Riverside County for decades and so I traveled to LA often. An overwhelming image I have of LA, therefore, is the vast freeway system, but of course, you live there, so you have many other perspectives of the city. Do you feel that the city does or does not inform your poems?
It’s funny but even though I was born in Long Beach (LA County) no one seems to consider me an LA writer. Even though many of my poems and essays feature landscape and places in Southern California, like Venice, Santa Monica, downtown LA, Topanga, the beaches along PCH, the mountains. And most of my publications have been in non-local literary journals and presses. I just had a poem in The Citadel (Los Angeles City College magazine, and it was one of the only local credits I have had. This is also true for readings and events. For some reason, when I get lucky enough to be invited for a featured reading or to teach a workshop, it’s nearly always on the East Coast or in Texas.
But perhaps I did not respond to your question properly? Where I live and where I travel informs my work, definitely. For example, I wrote a lot more gritty poems about the Boardwalk and the coming an goings of the vendors and homeless population when I lived in Venice and since I have been in the hippie enclave of Topanga. My work reflects the creek, the seasonal birds and wildlife from the Santa Monica mountains and the canyon roadways, more rural settings. Definitely affected is the fact that we have only one road, Topanga Canyon Blvd, in and out of the canyon where live and our lives tend to be framed and formed by that one main artery. During floods, storms, fires—we have one very rickety and curvy way out. My hippie shack is near a place called Edelman Park, which is a wildlife corridor, which means we get a fair amount of rattle snakes, coyotes, rabbits, racoon, bobcats, hawks, squirrels and even deer. Once I was on the deck and the backyard was foggy and like a magical spell, two deer arose up from the mist and looked at me—then scampered away. We also have a family of coopers hawks who circle the yard and hang out (looking for food I would imagine) but it s also a mystical experience when one alights on our wooden foot bridge–
Are you already at work on a next project? If so, do you mind sharing what you have in mind or are working on?
I am in the midst of poems LOOSELY based on the psalms, but not in a traditional way, not an interpretation. Mostly, as the psalms are sorted thru and buttressed into the messy world we are still enmeshed in —
Find out more about Millicent Borges Accardi and Quarantine Highway:
With an immigrant lens that defies and armed with a linguistic deftness that challenges, these poems grind against expectations and bust open the façade, the nuance, and go straight to the heart. —Norma E. Cantú Amid a global pandemic, the ceaseless wildfires of California, a political landscape of turmoil, Millicent Borges Accardi offers us a powerful collection of self-reckoning. —Ángel García, author of Teeth Never Sleep
Millicent Borges Accardi, an NEA fellow, is a Portuguese-American writer. She has four poetry collections including Only More So (Salmon Poetry Ireland). Among her awards are fellowships from the National Endowment for the Arts, California Arts Council, CantoMundo, Fulbright, Foundation for Contemporary Arts NYC (Covid grant), Yaddo, Creative Capacity, Fundação Luso-Americana, and Barbara Deming Foundation, “Money for Women.” She lives in the hippie-arts community of Topanga, CA.
If you would like to help support (for as little as $1/month) a deserving poetry journal, I can’t think of one I enjoy more than Thimble. Nadia is a delightful person with excellent taste in poetry. I think the statement on the journal’s website is very telling: “THE THIMBLE LITERARY MAGAZINE IS BASED ON THE BELIEF THAT POETRY IS LIKE ARMOR. LIKE A THIMBLE, IT MAY BE SMALL AND SEEM INSIGNIFICANT, BUT IT WILL PROTECT US WHEN WE ARE MOST VULNERABLE.” https://www.patreon.com/thimblelitmag
Thimble seems a magazine by the people for the people. I love it.
Guess what I just discovered? I wanted to start to submit to Visual Verse to practice writing ekphrastically. So for my first try I wrote a flash piece about the art Visual Verse used as a prompt. I didn’t know they published mine, but I just found it: https://visualverse.org/submissions/the-mess-of-mindfulness/
Without saying anything else (because what can be said is endless), I just want to place this link for Tyre Nichols’ photography.
I did post about the beautiful review of Rooted and Winged by Elizabeth Gauffreau in the new issue of Anti-Heroin Chic. Now Liz has recorded a poem from the book–and it’s such a treat! She published it on her post with her link of the review.
The new poetry collection of poet Ken Gierke, who blogs at https://rivrvlogr.com/, is called Glass Awash. I wrote a review of it and hope it inspires you to buy a copy!
Ken Gierke’s debut poetry collection, Glass Awash (Spartan Press 2022), is about making art, connections between inhabitants of the planet, and the voices that attach and sustain us. These inhabitants can be human, animal, plant, or mineral. In the poem that titles the book, “Glass Awash,” a piece of glass is tumbled in the waves at the shore where it dries under the sun. Then, “From swaying reeds, / a red-wing remarks on / its beauty, soon consumed / / by a frost, a reminder / of each kiss found / in grains of sand.” In this case the connections seem to be between animal (bird), plant (reeds), and mineral (glass and sand). However, the human is implicit as it is the human who records the event.
These free verse poems are spare with a minimum of words so that the images are not cluttered with less important language. The poems protest against “[o]ur growing world of disconnect,” but notice the “invisible connections” within the natural world (“The Intent of Moonlight and Ethereal Synapses”). Although poems are titled “Words without Voice” and “Thoughts without Voice,” the struggle seems to be to bring voices into being. In “Other Voices,” the persona tries to find a stone at the water’s edge “that speaks to you,” and then the stone with other stones will also speak. These stones, much like the tumbled glass, speak to us only if we listen carefully.
Some of the poems within this collection are elegies for the poet’s mother during her final illness and after she is gone. These are beautiful and while still sparely constructed vibrate with love and loss. These are a few of my favorite lines: “Hidden / in the pockets of my mother’s dreams, / surrounded / by the accumulated lint / of a faded lifetime, are dusty memories / sharper / than this morning’s breakfast.” Gierke uses the uneven line lengths to give emphasis to certain words.
Because the poems are short and not great in number, you can read this book very quickly. But you will want to read it again and again to really explore meaning in this lovely collection.
I presume it’s also available in Canada and other countries.
Ken Gierke is retired and has lived in Missouri since 2012, when he moved from Western New York, where the Niagara River fostered a love for nature. He writes primarily in free verse and haiku, often inspired by hiking and kayaking, while his fondness for love poetry may be explained by the fact that he moved to Missouri to be with the woman he eventually married. His poetry has been published or is forthcoming both in print and online in such places as Ekphrastic Review, Amethyst Review, Silver Birch Press, Trailer Park Quarterly and The Gasconade Review, and it has appeared in several print anthologies, including three from Vita Brevis Press and easing the edges, edited by d. ellis phelps. His first collection of poetry, Glass Awash, has been published by Spartan Press. His website: https://rivrvlogr.com/
This post is about something exciting to me at the same time that it is sad. Gingerbread House Editor Christine Butterworth-McDermott has interviewed me in the new issue up today. You can read it here:
Gingerbread House Lit Mag, with its emphasis on fairy tale-inspired literature, is one of my very favorite journals. Very sadly, I must say that this is the final issue of GH! Butterworth-McDermott will go on to do exciting things in the literary and artistic worlds (she’s an artist as well as a poet/writer), but this feels like the end of an era.
Please check out the whole gorgeous issue through the link above.
What fun to be interviewed by poet Millicent Borges Accardi, author of the new Quarantine Highway, for the beautiful CutBank Literary Magazine. Her questions really made me think about my life, and in the process, I discovered things about myself. You might, too!