Poetry Gift Guide 2011

THE POETRY GIFT GUIDE 2011

It’s that time again. I just watched the last leaf fall from the sugar maple in my backyard, so I know it’s time to start thinking about holiday gifts again. For me, and for so many like me, there could be no better gift than a book of poetry. Unfortunately, those who don’t read poetry themselves rarely know which book of poems to get for those who do, as can be evidenced by the Leonard Nimoy, Susan Polis Schultz, Jewel, and Treasured Verse books -- roughly the equivalent of holiday fruitcake -- on my shelves at home (please forgive me if you’re reading this and gave me one of those in the past). To help out those who know poetry-lovers but are not poetry-lovers themselves, every year I do a column suggesting certain titles from the year as ideal gift selections. I usually focus on the local and state level since there are other sources for broader selections.

This year I have two main recommendations. My favorite book of poems from 2011 is the very inexpensive anthology The Best of Poetry Hickory ($5, available at Taste Full Beans Coffeehouse in downtown Hickory). Yes, I am the Founder of Poetry Hickory, but I would want this book more than any other from this year even if I weren’t. This anthology contains numerous poems that are my personal favorites of some of my favorite poets -- poems that I believe will be further anthologized and read for years to come. Robert Abbate’s “Ecco Homo,” Rhett Trull’s “The End of the Hour,” Tony Abbott’s “Blood Red of Late October,” Richard Allen Taylor’s “Playing Catch,” Ron Moran’s “A Blessing,” and others in this collection are among the best poems I’ve read in the last decade.

The single author collection of poetry I deem to be the best from this year is John Lane’s Abandoned Quarry: New & Selected Poems (Mercer University Press). Lane is widely known as an environmental writer, and these poems will not disappoint the reader looking for such work, but as they encompass Lane’s career they also dynamically explore the nature of humanity and the development of the individual. I have said of this collection that “among the thousands of books of poems I own, there is not a single one I will more often take from the shelf to reread.”

Now, for my many poet-friends whose new books I didn’t name in my two primary recommendations, please note that I also didn’t include my own new book, Something Knows the Moment (available at Taste Full Beans or through Main Street Rag), which I like a great deal but don’t feel measures up to the anthology or Lane’s collection. In the event your poetry lover already owns those two books, and mine, here are some others from this year that I strongly recommend:
If Words Could Save Us, by Tony Abbott (Lorimer Press);
Spill, by Malaika King Albrecht (Main Street Rag);
How Language Is Lost, by Celisa Steele (Emrys Press);
The Jane Poems, by Ron Moran (Clemson University Press); and
An Innocent in the House of the Dead, by Joanna Catherine Scott (Main Street Rag).

If you need additional choices, check out the available titles on the websites for NC presses like Main Street Rag, Lorimer Press, Press 53, and Jacar Press.

A Gathering of Poets

A Gathering of Poets, April 9, Community Arts Cafe in Winston-Salem. This looks like a poetry event not to be missed. 4 workshops with people like Fred Chappell, Kay Byer, Debra Kaufman and Joseph Mills! Here is the link: http://www.press53.com/GatheringofPoets2011.html


SATURDAY, APRIL 9, 8 AM - 6 PM
SPECIAL OPEN MIC EVENING, 7:30-9:30 PM, FEATURING A CAPPELLA POETRY BY FLEUR-DE-LISA
Held at The Community Arts Café, Fourth & Spruce, Winston-Salem, NC

SCHEDULE AND WORKSHOP DESCRIPTIONS

Check-in & Continental Breakfast: 8 - 9 a.m.

First Morning Workshop Block: 9 - 10:15 a.m.
These workshops will be offered again during the First Afternoon Workshop Block: 1:30 - 2:45 p.m.

Debra Kaufman: Polishing the Lines (Limited to 30 poets)
We write poetry to discover something about ourselves and our world, and to share what we learn with readers. We will look closely at how to strengthen our poems by focusing on the ways precise imagery and musicality in our lines reveal a poem’s intended meaning. We will explore ways to refine our images and enhance our musical
phrasing to better reveal to ourselves and our readers the deeper truths inside our poems. Please bring a poem you would like to work on.

Alex Grant: Compression in Poetry (Limited to 30 poets)
This workshop focuses on practical, tangible methods and techniques to help you strip down and polish your poems. We will focus on specifics, before reading and discussing poems which exemplify this approach, then working on your own poems. Participants will take away practical, understandable methods they can immediately
apply to both new poems and work under revision.

Joseph Mills: What’s in a Name? (Limited to 30 Poets)
Margaret Mitchell considered naming her story Tomorrow Is Another Day and Tote the Weary Load. F. Scott Fitzgerald suggested Under the Red White and Blue and The High Bouncing Lover to his publisher. None of these phrases has entered popular culture; instead we have Gone with the Wind and The Great Gatsby. Titles are not simply handy ways to catalogue works; they can be crucial elements. Without the title “Station in a Metro,” the reader would have little idea what Ezra Pound’s poem was about. In this workshop, we’ll consider the importance of a variety of titles from books, paintings, poems, and songs, and we’ll explore ways to develop intriguing, effective titles for our own work.

Terri Kirby Erickson: Marketing Yourself and Your Work (Limited to 30 Poets)
Google "Terri Kirby Erickson" and you will find her everywhere, from her personal blog, to online lit mags and book blogs. In 2010, her poetry collection, Telling Tales of Dusk, reached #23 on the Poetry Foundation's list of Contemporary Best Sellers thanks to the endorsement of nationally syndicated columnist Sharon Randall in her column entitled, “Best Reads.” No matter where you are in your writing process, it’s never too early to start selling yourself and your work. The difference between being an unknown poet and a widely read poet is effective
marketing. In this workshop, we’ll examine various methods and strategies to get you and your poetry noticed by readers, editors and publishers.


Second Morning Workshop Block: 10:30 - 11:45 a.m.
These workshops will be offered again during the Second Afternoon Workshop Block: 3:00 - 4:15 p.m.

Fred Chappell: Master Workshop (Limited to 30 Poets)

Kathryn Stripling Byer: Studio-style Master Class (Limited to 50 Poets)
In this studio-style master class, former North Carolina Poet Laureate Kathryn Stripling Byer will select poems written by four poets in attendance to read and discuss in a studio-style forum with the four selected poets and then everyone in attendance. Attendees may submit one poem for consideration no later than March 15. Ms. Byer will select four poems for discussion, to be announced at the beginning of the master class.

Valerie Nieman: Every Picture Tells a Poem (Limited to 30 Poets)
Ekphrasis is a marriage of imaginations, that of the visual artist and the writer. In this poetry workshop, Valerie Nieman will discuss noted works, such as poems by Rilke, Auden, and Fred Chappell, and will take advantage of the Community Arts Café’s Gallery of the Arts to lead writing exercises using contemporary art as the source for new poems.


Other Important Times and Events

Lunch Break: 11:45 a.m. - 1:30 p.m. (Buffet lunch provided)

Faculty Reading With Special Guest Poet Isabel Zuber: 4:30 - 5:30 p.m.

Closing Remarks: 5:30 - 6 p.m.

Dinner on Your Own: 6-7:30 p.m.

Open Mic Reading with A Cappella Poetry by Fleur-de-Lisa: 7:30 - 9:30 p.m.
($5 cover, Free to Gathering of Poets Attendees.) Poets wishing to read must place his or her name in a bowl. Readers will be determined by a drawing at two different times during the evening. If the poet called is not present, another name will be drawn. Sixteen poets will be selected to read during this event. Each poet will have three minutes to read, and this will be strictly enforced to be fair to all poets.

Registration:
To register, visit the registration page.
Check box to select your desired workshops.
If workshop is full, you may check the "waitlist" box and you will be placed on the waitlist in the order you signed up.
Waitlists will be cleared if space becomes available.

Press 53 reserves the right to make last-minute changes due to cancelations by faculty. If a cancelation by faculty occurs, we will do our best to replace the workshop with an equally beneficial workshop, but no guarantees can be made.

To Register, click here.

Questions can be emailed to Kevin Watson at kevin@press53.com or by calling Kevin at 336-414-5599.

Promises to Keep: A Review of Debra Kaufman's "The Next Moment"

Promises to Keep: A Review of Debra Kaufman’s The Next Moment

The Next Moment, Poems by Debra Kaufman
Jacar Press, 2010, 64 pages, $13.95
ISBN: 9780984574025

What keeps us alive, motivates us, makes us human are our relationships and the obligations they entail. Frost knew that and memorably expressed it in his lines:

The woods are lovely, dark and deep,
but I have promises to keep,
and miles to go before I sleep,
and miles to go before I sleep.

Now, in The Next Moment, Debra Kaufman reminds us of the vitality of those relationships as well as the sometimes overwhelming difficulty of them.

Ranging across relationships with grandparents (“Knitting”), parents (“Smile”), spouses (“Nice”), and children (“The Drought Speaks”), Kaufman creates a detailed and honest “atlas of the difficult world” (thank you, Adrienne Rich) that defines who we are, who we have always been, as human beings. And Kaufman goes on to remind us in other poems that when, through such things as death, maturation, and divorce, those relationships seem to fade from prominence, the ever-present relationship with ourselves remains (“Epiphany”), and those other relationships always inherently linger there (“Last Words”), a fact made clearest in these lines from “Hope and Despair Are Not Opposites”:

The body experiences one moment,
then the next,
is always in the present,
while the mind spins into the future
or loops back to the past.

This duality of human existence is treated again both stylistically and thematically in the collection’s two best poems: “Minestrone, Rainy Day” and “Too Late / The Scream.” These two “braided” poems combine two poems each in a perfect marriage of form and function. In the former, one string of words illustrates how meticulous attention to detail and routine is used to assuage and even combat the fear, guilt, and uncertainty, the “unraveling” effects, caused by the depression, abandonment, and drug abuse presented in the contrapuntal other string of words. Similarly, in the latter poem, participation in art and writing is used to balance and resist the terror, the undoing, created by the unthinkable awareness of our children’s mortality and vulnerability.

It is certainly common enough that a book of poems contains one or two brilliant pieces. In The Next Moment, such brilliance is the rule rather than the exception, and it manifests not only in the form of the poems but also in frequently resonant phrasing. One line, for example, in “After a Drink or Two You’re Beautiful” memorably summarizes a child’s experience of living with an alcoholic mother: “Such heaviness, so many empties.” Another example of Kaufman’s facility for phrasing comes from “Last Words,” where the last stanza rivals the power of Thomas’s “Do Not Go Gentle Into That Good Night”:

I wish he’d die, now, quickly.
But first would lay
his rough hands
on the crown of my head.

The theme of a father’s loss treated in this poem is addressed with equal poignancy in “Comes a Time”:

In a black-and-white snapshot
proof that he once held me aloft:

my infant fist clutching his finger,
worry and wonder in his gaze,

the world opening--
our world of earth and air,

touch and smell,
grasp and release.

If it is true that we can judge a person by the company they keep, then certainly judging a poet by whose work they call to mind is a fair means of assessment. Frost, Adrienne Rich, Dylan Thomas . . . poetically speaking, Debra Kaufman is indeed a fine host for an outstanding selection of guests as her work takes its place at the table remarkable and memorable poets.

Review of "The Sound of Poets Cooking"

First Published in "Wild Goose Poetry Review" and in a modified form in "Outlook"

Review of The Sound of Poets Cooking, edited by Richard Krawiec
Jacar Press, 2010, 172 pages
ISBN: 9780984574001

It happens to all of us at one time or another. Late of an afternoon, we start to feel a certain emptiness, as if something is missing, something needed. We call it hunger or craving. And the more we try to ignore it, the stronger it gets. Maybe we long for something light and refreshing, or something heavier, meaty. Maybe just something sweet. Or maybe we can’t figure out exactly what we want. And that’s when we know that the answer to our appetite is surely a buffet. And that’s just what Richard Krawiec has arrayed before us as editor of The Sound of Poets Cooking. Whether we long for something exotic, something familiar and comforting, something spicy, salty, or even a bit saucy, this enticing collection of delectable delights is sure to satisfy.

To be clear and leave metaphor behind for a moment, The Sound of Poets Cooking is a new, 172-page anthology of poems about food accompanied by related recipes, from Krawiec’s fledgling press, Jacar Press. And it is an impressive debut, featuring wonderful work from poets both familiar and new, including two NC Poets Laureate, Fred Chappell and Kathryn Stripling Byer, and numerous other standards: Joseph Bathanti, Kelly Cherry, Jaki Shelton Green, Susan Ludvigson, Joanna Catherine Scott, Shelby Stephenson, and more, wrapped in a clever cover with an image of Buddha cradling a pomegranate, eggplant, carrots, tomatoes, sweet potato, chef’s knife and some spiky yellow fruit I’m not familiar with, appealingly conveying the mixture of spirituality and whimsy one might expect from poetry about food.

Of course, individual poems and individual recipes from the collection prove both enjoyable and useful, but like any good recipe, The Sound of Poets Cooking also masterfully blends disparate elements to create what might be experienced as a single savory delight, a cohesive record of the diverse ways in which the culinary arts and poetic arts are woven into the fabric of our memories, our experiences, and our daily emotional and intellectual lives. Here a reader finds the mock heroic tetrameter couplets of Chappell’s “Pot Luck Supper: Aunt Lavinia Strikes” delicately balanced by the therapeutic free verse of Grey Brown’s “Scrambled.” Or the stick-to-your-ribs heaviness of Debra Kaufman’s “Minestrone, Rainy Day” relieved by the joyful ad-libbing of Alice Owens Johnson’s “Gumbo.” Or the formal propriety of Jim Clark’s “Sunday Dinner” harmonized by the titillating temptation of Deborah Kolodji’s “Eggplant Parmigiana.”

As for the recipes, there are many I intend to try my hand at, including the onion pie, the Brussels sprouts & goat cheese risotto, and the coconut cake, but like Lenard Moore’s daughter, the one I look forward to the most is the three cheese macaroni and cheese.

To whet your appetite a bit more here is a sampler platter of some of my favorite lines from The Sound of Poets Cooking. Bon appetit!

from Scott Douglass’ “Bread Crumbs:”
. . . I fill
each page with bread crumb words,
a trail for someone, sometime
to follow back to me

from Anne Barnhill’s “Tiramisu:”
Don’t give me puffy white clouds
Fat as marshmallows
To lounge on when I die.
. . . . . . . . . .
Just place a generous block of tiramisu
In front of me;
. . . . . . . . . .
Sin straddling goodness--
Delicious as Dante.

from Pat Riviere-Seel’s “Road Trip Conversation:”
Beside you now I am ravenous
for the ripe figs of your fingers
folded around the steering wheel.

from Michael Beadle’s “Fromage:”
For a flash of free verse, I invoke
the Goddess of Gorgonzola, //
who bids me long life
as long as I use her bounty //
upon this holy cracker of truth,
this snack we have to share //
as the Muenster metaphor
melts in our minds.

from Susan Meyers’ “Fork: Song for the Misunderstood:”
May the fork in its daily travels discover
an insatiable mouth.
May the mouth
always adore the fork’s repetitive tune.