Tag Archives: poetry book

by | March 1, 2021 · 5:20 am

Reviews and Journals and Vaccines

Recently Liz (Elizabeth) Gauffreau  (also: Liz Gauffreau blog) reviewed Doll God, and it’s such a gorgeously written review that I wanted to point it out. This is the Amazon link: Doll God review by Liz Gauffreau. Her analysis reminded me of what Doll God meant to me when I was writing it and what it still means to me today. Here is a small section with her comments followed by a quote from “Sonoran October.”

I particularly appreciated the poems focused on the landscape of the Southwest because I’ve never lived there. After a few rereadings, I realized that the poems express a relationship with the land that is very intimate. You can’t get it from visiting; you have to live it. From “Sonoran October”:

Midafternoon, the only movements:
cottontails dart like ballplayers
from creosote to cactus to ocotillo.
A sky so blue it hisses at my touch.

I’ve been continuing to work on my art journals, although I’m supposed to be finalizing 2020 for taxes for the business. (hahaha) Yes, I said journals, plural. That’s because Amy Maricle suggests keeping more than one journal going at once. When one is drying, you can flit over to another and work on that one. The one I started with is relatively small, and the second one is much larger. The pages are also different as the smaller journal as an accordian style inside, and the larger journal has regular pages. I am learning why art journalists like to make their own journals, though. As you move through the journal, it becomes thicker and thicker until it can’t close. If you bind your own, you can solve that problem by making your binding adjustable or just giving yourself more space.

I suspect the gardener thinks the time I spend on the art journals is amusing or he isn’t sure what to think about it! He doesn’t say much, and he tends not to bother me when I’m in my office working on them. Maybe he’s mystified why I’m not using that time to write. I’m not, though, as it’s a completely different experience than writing and much more relaxing during the pandemic. Artist Anne-Marie van Eck says to stay in “createfulness” because when we create we are connected to our bodies and our minds and we stay in the present. I find that to be an exact description.

Many people seem to have taken up hobbies or expanded on them during the pandemic. Have you done that yourself? A friend of mine became an experimental baker, and another took up quiltmaking. Another friend has become an obsessed gardener (haha, you know who you are–I know you’re reading!!!!) and is transforming her yard into one huge garden (in addition to the catio she already has for her kitties).

I’ve been doing prose revisions lately. Two essays and a review all needed revision. Thank goodness for good and kind editors.

A friend and I read the first part of Shirley Jackson: A Rather Haunted Life, a biography of one of my favorite writers, written by Ruth Franklin. The book could be better. It spends so much time on Jackson’s husband’s career that it feels as if he is standing between me and Jackson, if you know what I mean. And he’s a creep, too. When we had to return our “copies” (hers was audio) to the library, neither of us were very sad. In case the name Jackson doesn’t ring a bell, think “The Lottery” or The Haunting of Hill House or my favorite We Have Always Lived in the Castle. 

Nevertheless,  I rechecked out the book.  I am reading sections related to the writing of certain books. Continue reading →

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by | December 18, 2017 · 5:20 am

Book Review of Jen Payne’s “Evidence of Flossing: What We Leave Behind”

To help heal our planet and ourselves, we first have to look outward to go inward. Jen Payne’s new book of poetry and photographs inspires us to do just that. Using the unique and cohesive symbol of the pocket dental flosser, Evidence of Flossing: What We Leave Behind explores nature and our place within our environment.

While it is not unusual to find a book’s theme related to nature and loss, Payne’s book turns loss personal and unnecessarily tragic by showing the wastefulness inherent in our actions. Payne directs the focus on the environment by her obsessive collection of photos of discarded dental flossers which serve to remind the reader of our most common actions and the consequences of those actions.

Shaped like little coping saws, the flossers are depicted lying where they were found—on pavement, pavers, dirt, concrete, and rock. Such common objects become centerpieces of individual works of art, but in their careless beauty, there is a glutted feeling of unwellness as if we, in our thoughtlessness, are too much for nature.

Payne’s poetry is the nuanced, living force of the collection. What drives that force is a love of nature’s beauties, a love that Payne wants readers to experience.

I will preach from the pulpit,
soar reconnaissance with the pileated,
nursemaid a wood duck’s brood,
survey the marsh with an egret,
meditate with the painted turtles
on a rock or the pine felled in a storm,
no matter, my profit immeasurable.

Though readers can feel the redemption of going inside ourselves to be at one with nature and the spiritual force, Payne continues to remind us how close we are to losing it all by our wastefulness.

On a personal level, once I finished reading Evidence of Flossing, I felt more in tune with nature and more mindful, but also began to notice what I had never spotted before: little plastic-framed flossers lying on the ground. Here is the flosser I spotted in the parking lot at the bank the morning after I finished the book. That was the first of many.

Soon after, I visited my dentist and told him about Payne’s book. He said that when we invented the flosser (and he did say “we”), we thought, as with much technology and “progress,” that they were an improvement over pieces of dental floss, never foreseeing that they would add to the waste on our planet. He wondered if birds get their bills caught in the flossers. Since I have been cutting apart plastic six-pack rings so that wildlife do not get stuck in them my entire adult life, I saw he was right about the dangers of the design. At least loose dental floss can be used by birds as material for their nests.

Look how Payne’s book got me thinking about the environment and sharing with others. Evidence of Flossing: What We Leave Behind is inspirational, lyrical, instructive, and not to be missed. It is a book to be shared with others in a groundswell of caring for Earth and all our planet’s inhabitants.

Click on the book cover to purchase through Amazon.

Photo Credits:

 

Book Cover, Evidence of Flossing: What We Leave Behind (Flosser No. 007-1214 – Diner, Connecticut, December 2014, by Jen Payne)

About the Author:

 

Jen Payne is inspired by those life moments that move us most — love and loss, joy and disappointment, milestones and turning points. Her writing serves as witness to these in the form of poetry, creative non-fiction, flash fiction and essay. When she is not exploring our connections with one another, she enjoys writing about our relationships with nature, creativity, and mindfulness, and how these offer the clearest path to finding balance in our frenetic, spinning world.

 

Very often, her writing is accompanied by her own photography and artwork. As both a graphic designer and writer, Jen believes that partnering visuals and words layers the intentions of her work, and makes the communication more palpable.

 

In 2014, she published LOOK UP! Musings on the Nature of Mindfulness, a collection of essays, poems and original photography. Evidence of Flossing: What We Leave Behind is her second book.

 

Jen is the owner of Three Chairs Publishing and Words by Jen, a graphic design and creative services company founded in 1993, based in Branford, Connecticut. She is a member of the Arts Council of Greater New Haven, the Branford Arts and Cultural Alliance, the Connecticut Poetry Society, Guilford Arts Center, the Guilford Poets Guild, and the Independent Book Publishers Association.

 

Installations of her poetry were featured in Inauguration Nation an exhibition at Kehler Liddell Gallery in New Haven (2017), and Shuffle & Shake at the Arts Council of Greater New Haven (2016). Her writing has been published by The Aurorean, Six Sentences, the Story Circle Network, WOW! Women on Writing, and The Perch, a publication by the Yale Program for Recovery and Community Health.

 

You can read more of her writing on her blog Random Acts of Writing, http://www.randomactsofwriting.net.

 

A big thank you to WOW! Women on Writing for including me in this blog tour! 

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by | December 7, 2017 · 1:04 pm

An Interview about Poetry and Genealogy

Jorie at Jorie Loves a Story interviewed me on the topics of genealogy, poetry, and Kin Types. Her questions were so thought-provoking, and I really enjoyed where they took me!

Check it out if you can.


Also, Amazon has 19 reviews up for Kin Types if you’re still on the fence about reading it.

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by | December 4, 2017 · 5:20 am

Submission Advice from Robert Okaji, author of FROM EVERY MOMENT A SECOND

Today I want to introduce you to Robert Okaji, poet and the writer of the new Finishing Line Press chapbook From Every Moment a Second. Robert’s poems are relatively short and seem simple. I said seem. Each polished gem is the kind of poem you fall into, without worrying if you will “get” it or not, and an array of meanings will wash over you without effort on your part, but the reward is great –an emotional and intellectual payoff.

Robert is published regularly in literary magazines. So I asked him for advice for readers about submitting to magazines. This is what he wrote for us.

 

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Newer poets occasionally ask me for advice on how/where to get published. What follows expands a reply I made to a comment on my blog in August, 2014. I can speak only from my experience, thus any advice I offer should be taken with a huge grain of salt. But here goes:

Determine who you are as a writer, and where your work has a realistic chance of being published. What, you say, how do I do this? Think about your favorite living poets, those poets you’d most like to be associated with, whose work has influenced your writing, and with whom you’d like to “converse” through poetry.

Where does their work appear? Look at their lists of publications, choose the smaller, lesser known literary journals first, and read them cover to cover. When you find in these same journals other writers whose work appeals to you, examine their publication lists. After a while you’ll notice that certain journal titles repeat. Compile a list of these, and consider them your “targets.” Read them. If your sense of aesthetics meshes, send them your best work.

This is not a quick process, but sending your poetry to publications that publish the poets writing the type of poetry you like is much more effective than haphazardly scattering your work across the poetic landscape. In other words, be selective. Think. And always read submission requirements. If a journal says “no rhyming poetry,” don’t send them any. You get the picture. Don’t waste your time. Don’t waste theirs – most lit mags are labors of love. The editors earn no money, often, if not usually, bearing all publication costs. Be kind to them.

Also, look for newer publications calling for submissions. They may be more amenable to your work, and the competition may be a bit lighter. How do you find these? Read Poets & Writers. Check out New Pages‘ calls for submissions. Facebook’s “Calls for Submission” group is worth joining. Follow Trish Hopkinson’s blog. Join various writing communities on social media. Look around!

You might also consider subscribing to Duotrope, if only to determine what certain publications’ acceptance rates are. For example is it worthwhile to submit to a publication that accepts only 1/2 of one percent of submissions? Or would your time be better spent submitting to publications accepting 5% to 20% of what’s sent to them? One can over-think this, of course, but knowing the odds can increase your chances. Of course ego comes into play, and sometimes you just have to send your work to one of the “unattainables.” And hey, nothing ventured, nothing gained. Duotrope‘s “News” tab also provides links to new markets or those that have recently opened or closed to submissions.

When your work is rejected (and it will be – everyone gets rejected), look closely at it. Was it indeed as ready as you originally thought? If so, send it back out. If not, revise it. Keep writing. Keep revising. Keep sending.

I submit my work cautiously, as if editors are looking for excuses to NOT publish me. This means that I take my time and ensure that every piece I send out is flawless in appearance – no typos, no grammatical errors, etc. Unless a publication specifically requests more, my cover letters are brief and say very little but “thanks for the opportunity” and might at most contain a sentence or two regarding biographical details or previous publications. Anything else is superfluous – I don’t want to give them any reason to not accept my work.

Again, this is just my approach to getting published. I’m sure that other, more successful writers have better processes. And of course I ignore my own advice from time to time. Send out those poems. Good luck!

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From Every Moment a Second can be found on Amazon.

 

The son of a career soldier, Robert Okaji moved from place to place throughout his childhood. He holds a BA in history from The University of Texas at Austin, served without distinction in the U.S. Navy, lived the hand-to-mouth existence of a bookstore owner, and worked in a library and as a university administrator. He lives in Texas with his wife, two dogs, some books and a beverage refrigerator stocked with craft beer.

He has never been awarded a literary prize, but at age eight won a goat-catching contest.

Recent publications include the chapbooks From Every Moment a Second (Finishing Line Press), If Your Matter Could Reform (Dink Press), two micro-chapbooks, You Break What Falls and No Eye but the Moon’s: Adaptations from the Chinese (Origami Poems Project), a mini-digital chapbook, Interval’s Night (Platypus Press), and “The Circumference of Other,” a collection appearing in Ides: A Collection of Poetry Chapbooks (Silver Birch Press). His work has appeared in Taos Journal of International Poetry & Art, Boston Review, Hermeneutic Chaos, Glass: A Journal of Poetry, Panoply, Eclectica, Clade Song, Into the Void, High Window, West Texas Literary Review and elsewhere. Visit his blog, O at the Edges, at http://robertokaji.com/.

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by | November 9, 2017 · 2:21 pm

A New Review Brings Up a Topic for Discussion

Today, a new review of Kin Types was published here at Jorie Loves a Story. 

This review is very cool in how she interprets so many of the poems. She shows a wonderful sense of what each piece is about.

Then at the end, Jorie inserts what is essentially a caveat, what she calls “Fly in the Ointment: Content Note.” She takes exception to my inclusion of a case of animal cruelty and murder in the poem “Once and Now.”

As you might guess, I really “get” her complaint and her sensitivity to harm to animals. Animals mean the world to me (in a literal sense, as well as figurative).

The poet in me, though, felt a need to not turn away from where the poem simply had to go. It’s a poem about war, in this case WWI. And it’s about zenophobia, a fear of foreigners, which showed itself as cruelty to immigrant Germans. That a dog suffers is typical of how war can work. What happens to the animals, both wild and in homes and zoos, when battles are fought?

But it’s not a poem about the dog. The dog is a very real dog who suffered, and the people are real people who suffered, and the dog is also a metaphor. Ok, that’s my “defense.” But I can truly see her point. It’s kind of like Facebook, who wants to go there and see petition requests with photos and comments about animals being harmed? (guilty)

What is YOUR opinion? Should I have left out the dog?

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by | November 8, 2017 · 6:47 am

Review: Kin Types by Luanne Castle

A new review up todayfor Kin Types.

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by | September 18, 2017 · 5:20 am

Poetry Book Reviews: Goodwin and Swartwout

I’ve been doing some more reading again lately. Here are two poetry books that I swooned over.

In Caroline Goodwin’s new poetry collection, the elegiac The Paper Tree, language seeks to locate and identify. This is where and what, the poems seem to say. The mood can be mournful, commemorative, meditative.

Images from nature are seeds blown into the wind by the poet in an act of claiming. The urgent need of the poems, intense as it is, ebbs for a moment when hope soars for “a new kingdom . . . where the need to name the shape / does not even exist.” For now, the kingdom itself does not exist, but the glimpse of it has been noted.

Ultimately, the outward gestures of naming and sowing images lead to a necessary inwardness: “hold out your hands / open your heart / here’s where the world slides in.” The Paper Tree will present you the world if you open yourself to its wonders.

 

Odd Beauty, Strange Fruit, Susan Swartwout’s latest poetry collection, finds the beauty and pathos in the oddities of life. Family history, carnival performance, time spent in Honduras—the subjects are varied, which further emphasizes that our lens can be adjusted to spot the strange and wonderful—or the pitiful—anywhere we look. The language is gutsy, the images sometimes grotesque and sometimes mystical. I found this collection impossible to put down, and poems like “Five Deceits of the Hand” where “we” are betrayed into aging and death thrilled me with jealousy.

Friends vanish like misplaced directions

into skies you used to claim. Age begins

sucking your bones until you lean shriveled

into the mouth of harvest.

In case you’re worried that the book ends on a dark or depressing note, the last word is salvation. I guess you’ll have to read the book to see if that means things work out ok or not.

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Maybe I finished my diamond poem (the one I mentioned in Typical Tuesday). Letting it rest right now.

I used #amwriting as a tag this week because I started looking through my memoir manuscript with an idea to restructuring it AGAIN. This is so insane. But look at it this way, what happens over many decades has to be structured in a way that is easy for the reader to follow and stay engaged. Most memoirs take place over a much briefer period of time (is briefer a word?), but the story I want to tell begins at least when I was 11, but truly long before I was born, and doesn’t end until this past decade. PULLING MY HAIR OUT.

Which reminds me that I wanted to share that Perry is in absolute love with his hairbrush. Yup. He hugs it.

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by | August 17, 2017 · 6:25 pm

SUMMER SPOTLIGHT: LUANNE CASTLE — Jill Weatherholt

Jill Weatherholt has been so kind to interview me for her blog! Please join us over there!

What is special about the place you grew up? The places of my childhood are always with me although I live almost 2000 miles away. I grew up in Kalamazoo County, which is in southwest Michigan. There are 101 inland lakes in the county alone, and we were not far from Lake Michigan. My mother’s […]

via SUMMER SPOTLIGHT: LUANNE CASTLE — Jill Weatherholt

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by | May 30, 2017 · 5:20 am

Book Trailer Decisions

Although I never had a book trailer for Doll God, I’ve since read that they are important because readers, like most people today, are used to videos and to receiving information in that format. So I am trying one for Kin Types.

I hope you enjoy it. It’s only 53 seconds long and you can either listen to the music or keep your volume off.

Do you regularly watch book trailers? If you’re a writer with a published book or books, have you used book trailers?

Unless you are experienced at making videos, it takes a lot of time to make a short little video about your book. Rather than waste time learning step by step, I asked my daughter who already makes memory video albums for people to make the video for me. I sent her links to book trailers and book trailer articles, old family photos, and the manuscript itself. After the video was completed, I learned a few things from her.

There are a lot of decisions that go into making a book trailer. The length is one thing. Sometimes short is best: if you keep it under 60 seconds you can share it on Instagram.  It’s also more likely to be watched. But you can’t put too much into 60 seconds.

A mistake some authors make is to try to give a complete synopsis of the book in the trailer, so she opted to give a flavor of Kin Types instead.

You have to make sure the music fits the book.

Do you want a narrator or just written text or do you want to showcase your own reading from the book? My daughter thought that for a short video, simplicity was best and used written text. That way, people don’t have to listen to the video if they are at work or otherwise unable to listen to audio without disturbing others.

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In case you are wondering how Perry, our unsocialized foster cat, is doing, I can tell you that he loves to play with Hot Pursuit, a game that spins a furry mouse on a stick. He’s also interested in the robot fish in a bowl of water, but Hot Pursuit is his passion. He eats Wellness chicken pate out of a bowl I hold in my hand and his nose and whispers nuzzle my hand. He sniffs and licks my fingers. But he still doesn’t want me to reach out and touch him. One day I touched his haunch, and he flinched and jumped back. Then he lay back down and tentatively touched my hand with his paw. Sometimes he lies in a cat bed on a bench in the sun and sometimes he sleeps underneath the bench or under the footstool. He’s only done two naughty things, which is pretty good considering that he is quite young. He chewed the tag off the lamp’s electrical cord. I hope he knows cords are bad to touch. He also peed on a pile of clean laundry I left lying in his territory. Oops.

Hope your week is a beauty!

 

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by | March 6, 2017 · 5:20 am

When a Cat Comes to Visit

Last week was busier than usual. Among a long list of other things (that may or may not include termites and breast cyst colonies–both those suckers travel in packs), the gardener and I trapped a cat that was hanging out in our backyard. I think strays and ferals see our cats through the windows and decide our yard makes a safe place to set up camp.

This one would come sit tall and proud on our pony wall and wait for his dinner. Yes, we had to give him dinners because underneath his long fur he was quite skinny. Besides, dinner is how you trap a cat.

Have you ever seen a cat trap?

They are scary looking, but when you cover it with a blanket, the cat can’t really see how scary it is. He only knows there is good food inside that he doesn’t have to rassle (wrestle for you grammar nazis) to eat.

We didn’t know if this cat was stray or feral. A stray cat will make a good house cat once he gets acclimated. A feral cat probably will not, although you have to take it on a case by case basis. This cat would look at us in the yard, which is unusual for a feral, plus we do not have a feral colony anywhere near. In fact, there are no cats outdoors as a general rule. That is because we have a pack of German Shepherd-sized coyotes and a large bobcat. People who try to have “outdoor cats” in our neighborhood end up inadvertently killing them. In fact, I contacted people through “Next Door,” in the adjacent neighborhoods, and they spoke of the zero cat population and how a Maltese was severely injured by the coyotes.

OUR HUGE BOBCAT

We didn’t know if the cat was male or female, but I was calling it HE and HIM. I had an instinct, but didn’t know if I was right.

After days of luring the cat farther and farther into the trap, we were ready to catch him. That meant that the gardener needed to “set” the trap as he was the one who got the instructions from a friend we borrowed the trap from. It had been a few years since we used a trap. He was busy with stuff and couldn’t be rushed, and I was worried Mr/Ms Stray/Feral would come for dinner too soon. He did. When we came out to set the trap, he was sitting there so proud and so skinny on the wall around our fountain. He watched us very carefully as I put the food all the way to the back and the gardener set the springs. Then we went inside to see what would happen. I worried he would be annoyed and avoid the trap because he saw the trap without a blanket on it and saw it being set.

At first that was true. I watched between the drape and the window frame. He circled the trap, trying to get to the food without entering the open end. Then he left.

Durn it all, I said to the gardener. You should have come out to do it earlier. Only I didn’t say durn.

I was nervous he would get killed before we could catch him. And I was a little anxious that I already had scheduled an appointment for him next day at the spay/neuter clinic. I didn’t choose them for the lower price only, but because they are used to handling feral cats. If he was feral, he would need that expertise. The receptionist asked me if I’d named the cat. I had not even thought to, but after that two names came to me: Perry for a boy and Polly for a girl.

Five minutes later darkness descended on the backyard. I couldn’t really make out the door of the trap. I asked the gardener to come look. He said it was sprung.

So I turned on the porch light and went out to see. Our little gray and white visitor was huddled up miserably inside the trap. The food was untouched.

In the garage I had put a thick blanket on the floor for warmth and then covered that with a Chux pad for potty needs, so I placed the trap there for the night. The spay/neuter clinic would open at 7AM, and the kitty would have to be in the cage all night. I knocked the food out of the cage so he would have an empty stomach for neutering the next day. Although I’d been up all night just a couple nights before (ER visit for the gardener for a kidney stone–I told you we had a lot going on), I got up early to drive “clear across town,” which means a long way through rush hour city traffic.

I’ll be darned if they didn’t do his surgery until after 4PM! Poor thing had to wait in that trap without food or water all that time. And I was so impatient because I wanted to know:

  1. Boy or girl?
  2. Feral or stray?
  3. Feline leukemia negative . . . or not?

PERRY turned out to be stray and negative for feline leukemia. Good news for him! So I brought him over to our shelter fresh off the operating table. What nobody warned me was that some cats act like maniacs while under the effects of the anesthesia. He threw himself against the walls of the cage. It was frightening because I thought he might hurt himself–and it sure seemed a different story than how lovely he was to the vet and vet techs before his surgery. That night in his cage in the isolation room at the shelter, he tipped over his litter box and got it all over, spilled his water all over, and didn’t pee or poo at all. However, he did eat all the kibble that was left for him.

Worried about him, I ran over there first thing the next morning and cleaned and reset up his cage and amenities and gave him a little canned food. He was calm, but scared.

Perry on the bed of the iso cage–the cage is much taller, but it’s underneath the bed

Please send vibes or pray for him, however you’re inclined, that he settles in, loses his fear, and finds a loving home!

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I hope that Kin Types will be ready for pre-order soon. Waiting to hear from the publisher about that.

I’m participating in the Great Poetry Exchange along with 65 other poets with books. In the month of March I am sending Doll God to one poet and receiving a book from a different poet. I can’t wait!

 

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