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I recently received a few contributor copies of Barn Owl Review #2 (Thanks, Mary Biddinger!). My poem "They're coming to get us" appears in the issue (on page 16) along with a lot of other great poetry, fiction, and essays.

In fact, quite a few poets with ties to Poetic Asides appeared in this issue. April PAD Challenge guest judges Seth Abramson, Edward Byrne, and J.P. Dancing Bear are published in this issue. Bear, of course, was also recently interviewed on the blog (click here to read the interview). And another interview subject, Nin Andrews, also appears in this issue of Barn Owl Review (click here to read my interview with Nin).

It's always cool to get a publication credit (whether online or in print), but there's something extra cool about holding a journal and knowing your poem is in it. And since I'm so connected to Ohio, I really appreciate the Ohiotica in the Contributors' Notes (not to mention the ad for Clampco: Worldwide Clamping Specialists).

To check out more about Barn Owl Review, go to www.barnowlreview.com.

I've been super busy this past weekend (haven't slept in nearly 24 hours now, in fact) working on Writer's Market. Started checking my e-mail this morning to learn that Rich Atwater is trying to put together some kind of color poem anthology that includes his epic "Rebirth of Colors" poem.

In fact, some poets contacted me very concerned that Rich was trying to steal their poems. I don't think that's what Rich is trying to do; I do think he's trying to get signed permissions to publish poets' color poems along with his epic poem. However, he needs your permission to actually publish your poem. So, it's a personal decision you'll have to make.

Some poets will be all for it, and that's fine. It's good to share your work (I mean, that's what we've been doing all month, right?). In my own case, I will not be giving Rich permission to print my poem or claim that his book is affiliated with Poetic Asides.

This isn't because I don't support other poets promoting poetry in their own ways. It has more to do with we've already got a challenge and an eBook and guest judges (who are volunteering their time) and guest screeners (who are also volunteering their time). And I've just got my own plans for my own writing.

This post is not meant to rain on Rich's parade. It's just to let the poets, who are concerned about their rights, know that they have the power to determine what they want to do with their work. Want to be part of Rich's project? Great. Don't want to be a part of it? That's fine, too.

In the end, as with all issues of publication, it's a personal choice.

Earlier this year, Tammy and I took Baby Will with us to his first poetry event, a reading by Cherryl Floyd-Miller at Wordsmiths Books in Decatur, Georgia. Sadly, Wordsmiths has since closed, but Cherryl was nice enough to be interviewed for the Poetic Asides blog.

Her most recent collection of poems, Exquisite Heats, was published in 2008 by Salt Publishing. Cherryl is a native of the Carolinas and has published two other poetry collections: Utterance: A Museology of Kin and Chops. In addition to poetry, Cherryl is also a playwright and fiber artist.

Here's a favorite poem of mine from Exquisite Heats:

Voodoo Chicken

Gots me hanker. Gots me squall, peeping tall-Tom
at your lovely, in your throat, and the itch,
hellcat itch, of it rides me like a witch
into the nights, those crafty nights, no calm
will come. You just a mule teeth puppet show.
Stop and go. Chickenhearted to the core,
you say don't cross the line or crack the door.
How sweetmeat, milk. How navy black. How crow.

But love has stayed and love is made, is all
is with, for. We almost did, just about,
said we (nohow) wouldn't (nungh-ungh) fall.
This moot jinx so far in, it's inside out.
We say we won't. But reckon do. Yak. Stall
for if. Wait for good-good. Gut in. Ass out.

*****

What are you up to?

I am helping a friend build a strong healthcare firm, writing lots of persona poems, finding very interesting ways of writing verse plays and verse narrative ... and (ah, yes) -- quilting. I am truly enjoying this "season" of myself.

You live in the U.S., but your publisher for Exquisite Heats is based in the United Kingdom. How did you go about publishing this collection?

I will have to give credit for my publication through Salt ... to Salt. Chris Hamilton-Emery is an amazing and supportive publisher. He takes the risks others won't take, says the things others won't say and publishes other risk-takers others have not seemed to publish. A poet/scholar friend suggested my work; Chris asked for a manuscript; he liked the work; and we evolved to a contract and a collection of poems. I am deeply grateful for the ways in which Salt shows it believes in me and my *voice*. The faith Chris seems to have in me as an intelligent person and an artist is the kind of faith I've found only one other place: the Fulton County Arts Council in Atlanta and its Deputy Director, Val Porter.

In Exquisite Heats, your work incorporates a variety of poetic forms. Could you speak a little on using poetic forms in your writing?

Ah ... poetic forms. They are helpful play things; by that, I mean it has aided my poem-building skills tremendously to be knowledgeable about forms and make conscious decisions about using them in my work. I've found the most gifted and compelling poets to be those who know the rules and deliberately break them in order to keep their own voices intact. At this stage in my own evolution, the use of forms is both conscious and subconscious. Most of the time I know exactly what I've done after I've done it; but I'm at my best when I don't know what I'm doing while I'm doing it. Poetic forms for me are a good musical instrument to ensure this "band" called my body of work can jam as long and hard as it likes. But I'll be a traitor and leave the forms on the side of the stage if the poem instructs me to do so. Forms come often in my work, but I'm not a slave to them. My only allegiance is to the poem.

Do you use critique groups—or a network of other poets—to help with early drafts of poems?

I don't use critique groups as much as I used to about five to eight years ago. I have trusted eyes and ears who can hear new drafts at any time of the day and give me honest feedback. Usually, these are writers who have known me and my work for a long time and have earned my respect and trust. I'm not closed to critique groups, but I am leery of group dynamics and individual dramas that can be a bit distracting to the purpose of gathering: work.

In your bio for Exquisite Heats, it’s mentioned that you’ve received several grants and fellowships for your writing. Any application tips for other poets who may apply for grants or fellowships?

Yes ... apply. It may sound strange to give this as advice, but many people don't even fill out the application and wonder why they can't get grants. Other tips:

1) Be sure you really want it. Don't apply just for the money. Make sure your values align with the org or individual who is awarding the money, and make sure you believe in what the grant asks of you.

2) Apply again, if you don't get an award the first time you apply. Sometimes, missing a grant or fellowship has nothing to do with your talent or your perfect application. It has to do with timing, the number of other talented applicants and whether or not you come across as credible on paper.

3) Do what the grantors ask. This means meet deadlines, do the accompanying essay, and have a solid plan to do what you say you're going to do with the money. Having been both a grant recipient and a grant reviewer, I can truly say, if you're not sincere, it comes through loud and clear that you're not sincere.

Your bio mentions you’re a fiber artist. In what forms of fiber arts do you work?

I am a quilter who uses techniques of collage, crochet, knitting and mixed media formats. I have no formal training in any of this. I learned quilting at my paternal grandmother's feet at age 7. I learned crochet from my maternal grandmother at age 9. I've experimented with everything else enough to be *confident* about what I create. I explore the same themes in fiber art as I do in poetry: women, the South, folklore, sound music in language, myths, non-linear structures and magical realism. Much of the way I approach art is really about not wasting a single thing. Even the words you cut from a poem or the scraps you create when you cut the fabric of a quilt can be used somewhere else.

Who are you currently reading?

Two voices I think many of us have forgotten: Dolores Kendrick and Sherley Anne Williams. I am also reading a variety of modern verse plays because I'm curious about what others are doing with the form.

If you could pass on only one piece of advice for other poets, what would it be?

Write! And then write some more. When you feel like you truly (((can))) *quit* writing, then you should quit ...

*****

To learn more about Cherryl's collection Exquisite Heats and her publisher Salt Publishing, go to www.saltpublishing.com.

*****

Are you a poet or publisher looking for free publicity? Then, check out what you need to do to be considered for a Poetic Asides interview by clicking here.

It's not every day that I get an opportunity to interview a former poet laureate. So when I was afforded the chance to read Patricia Fargnoli's Duties of the Spirit (Tupelo Press), I jumped at the chance to interview the former New Hampshire Poet Laureate (her term ended earlier this year).

Though Fargnoli is a retired psychotherapist, she just published her first collection of poems Necessary Light (Utah State University Press) in 1999. And has made her presence felt in the poetry community in a very short period of time with another full-length collection and chapbook in the same 10-year span. Oh yeah, Fargnoli is also in the final stages of publishing another collection with Tupelo Press.

Here's one of my favorites (I have many) from Duties of the Spirit:

The Undeniable Pressure of Existence

I saw the fox running by the side of the road
past the turned-away brick faces of the condominiums
past the Citco gas station with its line of cars and trucks
and he ran, limping, gaunt, matted dull haired
past Jim's Pizza, past the Wash-O-Mat
past the Thai Garden, his sides heaving like bellows
and he kept running to where the interstate
crossed the state road and he reached it and ran on
under the underpass and beyond it past the perfect
rows of split-levels, their identical driveways
their brookless and forestless yards,
and from my moving car, I watched him,
helpless to do anything to help him, certain he was beyond
any aid, any desire to save him, and he ran loping on,
far out of his element, sick, panting, starving,
his eyes fixed on some point ahead of him,
some possible salvation
in all this hopelessness, that only only he could see.

*****

What are you currently up to?

On March 22, I finished my 3 1/2-year term as New Hampshire's Poet Laureate.   And my new book, Then, Something, which is due to be published in fall by Tupelo Press, is at the publishers and soon to go into production.  We've already decided on the cover.  I've also recently finished work with two private tutorial students...all of which should mean that I could rest a while, and, hopefully, turn my energies toward writing new work. But March's calendar is full of readings I want to attend and lunches with poet/friends and teaching my private class.  And April's only a little freer.  The last week in April and the beginning of May I'm going to The Dorset Writer's Colony in Vermont for a week  (and would go longer if I didn't have a cat and no one for him to live with in my absence).  In June, I'm teaching at an Elderhostel for a week, and leading an Ekphrasis workshop in July and a workshop for Teachers in August.  In between, I'm giving a couple of readings....and will be working at proofreading my manuscript for the press...and writing a reader's guide. Whew!  Would you believe I've been "retired" for 10 years now?

You've just recently finished up a stint as New Hampshire's Poet Laureate. What were your duties? Were you able to accomplish everything you wanted?

As poet laureate, I had no official duties.  Some poet laureates do a little or nothing; some do a lot. I like that what I did was left entirely up to me so that I could use the skills and interests I have in the way I wanted to.  I'd decided from the outset that I wanted to do something for children, something for libraries and something for New Hampshire poets.  And I'm proud that I accomplished all three. With the support of the NH State Library, The Writer's Project and the NH Council on the Arts, I was able to recruit 43 poet-volunteers from around the state, and to organize a "Children's Poetry Day in the Libraries Day" the first April after I was elected. The Governor issued a proclamation proclaiming April 14th as statewide "Children's Poetry Day;"  and each volunteer put on a program for children in a library near him/her.  We published articles in almost every regional magazine promoting the importance of poetry in children's lives and served about 350 children and parents on that day.

I also initiated (again with the help of Art Council personnel) a "New Hampshire Poets Showcase" link to the Arts Council website.  Every two weeks we featured a new NH poet with a poem, bio, photo, links and a paragraph about how their poem came to be. 

I also did readings and workshops around the state and attended civil functions occasionally. And I delivered a poem at the Governor's Inauguration.

When I look back at what I accomplished I'm amazed that I could do it.  I had reservations about accepting the position in the beginning because of some chronic health problems that have limited my mobility and energy.  But I'm glad I didn't turn it down; the position was life-enriching. I made many friends and have some wonderful memories.

When and why did you begin publishing poetry?

I began writing and studying poetry seriously when I was in my mid-30's in a graduate class with Brendan Galvin at Central CT State University.  Along with 7 other women who became my close friends (and are to this day), I took the class for several years.  My first poems were published in Tendril (which has been gone for years) and Poet Lore.  In fact, Brendan sent out my work to Tendril without telling me and when, one of the poems was accepted, he called me from his vacationing on Cape Cod to give me the news.

I was hooked.  I've always loved poetry and had written it earlier...publishing in the high school newspaper etc., but I knew nothing then about contemporary poetry and the only two poets' names I was familiar with were Sylvia Plath and Robert Lowell.  However, it was many years later, when I was 62, that I published my first book, Necessary Light, after Mary Oliver chose it as the May Swenson Award winner.

The "why" is harder to explain.  Besides the love of poetry, there's the challenge of getting what can't be easily said into words; the thrill of connecting in a deep way to readers,  the adrenaline rush when you open an acceptance letter and the way writing a poem can somehow make sense of your life.

Do you have any method to where and when you submit your poems?

Hmmm.  I usually submit about 3 times a year....in late September,  January, and maybe June (to those journals that accept summer submissions).  But this isn't rigid and if I have some poems I want to send out and have the time, I'll send them.  I have a list of journals I'd like to have my poems in...a rather long list.  Over the years, I've subscribed to many of them and I know what kind of work they take.  I believe strongly that poets shouldn't be expecting editors to publish them if they, themselves, aren't supporting the work of presses, literary journals, and other poets.

I only occasionally do simultaneous submissions because it's hard to keep track of them. But I do them more lately because I am 71 and time is passing far too quickly...I can't afford to wait a year to hear results anymore...especially since the competition is so fierce and rejection so frequent.  And when I do submit simultaneously, I don't send to more than 3 journals at a time, or to journals that don't accept them.   But other than that, I have no specific method.

Duties of the Spirit (Tupelo Press) won the Jane Kenyon Poetry Book Award and your first collection Necessary Light (Utah State University Press) won the May Swenson Book Award. What do you think makes a good collection?

Oh Robert, it is so, so subjective!  I've several times been a judge or early-round judge of a book competition so I've read hundreds of manuscripts and I can tell what impresses me....though it probably would be different for someone else.  At the top of my list is "Vision."   I mean that the book presents the poet's unique way of looking at the world....some fragment of the whole.  And the poems must "matter" and, when taken together, seem like a cohesive whole (even though there may be single poems that are different from most of the others)....I don't have patience with the superficial or pretentious language that reveals nothing when you look under it.  I look for depth.  Craft matters to me greatly. And once I gave top prize to a book (a novel in verse) mainly because I fell in love with the "voice" of the protagonist. (He was an ironic everyman.) Of course, the craft was impeccable too.

What do you look for in a good poem?

Depth, beauty, spirit, craft, sound, humanity.  Sometimes fracturing and remaking of reality, so that I as a reader can see a thing newly. Some news to help me understand my own life and its meaning.

In Duties of the Spirit, you deal with nature and aging--even confronting death. These topics are big and well-traveled, yet you make them your own. I'm sure part of your success comes back to revision. So, how much time do you commit to revision? And how do you know a poem is done?

Revision is, for me, the process by which a poem comes into being. My early drafts are terrible.  I often overwrite pushing myself past all the voices in my head that say "Ugh" just in order to get words onto the page where they can be worked at.  I then will do maybe 3 or 4 quick revisions and put it away for at least a few days.  Then I work at it again.  If I can get it into what begins to feel to me like a poem and I'm as far as I can go, I'll bring it to one of my workshops (there are 2; one of them is online). That usually results in another revision. I have what I call my "WP file,"  which stands for "Working Poems."   The revised draft (if I'm still not satisfied which is usually the case) goes into that file...and periodically, I'll pull it up and work some more.

In later drafts, often, I'm picking at single words, or perhaps upping the ante on a phrase that feels flat...or experimenting with shifting the order around or changing line-breaks...that kind of thing.  I've often worked this way on a poem for years before I'm satisfied...if I ever am. And even when I send out a poem, I'll later revise it... or even after it's published.  I don't know when a poem is done....it's mostly just let go.

I think of revision as being like a sculptor with a block of marble.  The poet chips and chips away at the poem until the real poem (hopefully) emerges from the block of words.

Who (or what) have you been reading recently?

I read poetry every day...and not just a little. I have 7 bookcases (3 of them tall ones) in my 2 room apartment and they are all filled with books of poetry. I spend more on poetry than I do on anything else except food and rent.  Currently on my bedstand (which means I'm reading them) are: Robert Hass Time and Materials (which I'm reading for the second time); Mary Oliver's New Evidence; Louise Gluck's Averno (also reading for the 2nd time); Borges This Craft of Verse; Rebecca Seiferle, Bitters; BAP, Charles Wright, ed;  Henri Coles, Blackbird and Wolf; Charles Bennett's How to Make a Woman Out of Water; Ruth Stone's What Love Comes to; The Making of A Sonnet, Edward Hirsch and Eavan Boland; Dante's Divine Comedy; and the current issues of several journals: The Georgia Review, Shenandoah,The Harvard Review and The American Poetry Journal.

On order are Ann Fisher-Wirth's Carta Marina and Jack Gilbert's new book (which I've forgotten the name of).

If you could offer only one piece of advice to your fellow poets, what would it be?

Read, read, read, and support other poets, publishers and the poetry community.

*****

To learn more about Patricia Fargnoli, check out her website at www.patriciafargnoli.com.

Soooo... What was that special updated news about the April PAD Challenge I was hinting at during yesterday's prompt? What got me all excited? Well...

My awesome writing community leader here at F+W has given the green light on making an eBook anthology for the top 50 poems from the April PAD Challenge. This eBook will be designed by our F+W design team and will be made available for free to anyone and everyone. Isn't that awesome?!?

The eBook will include 50 poems (30 poems will be the top poem from each day's prompt; the other 20 poems will be the best of the rest). And yes, I don't mean to say that the 50 poems in the eBook will literally be the best, since that's super subjective, but it will be 50 excellent poems from the many, many, many that are part of the challenge.

But wait! Could it get even better?

This morning, pondering making the announcement of the eBook, I thought, Hey! I wonder if I could gather some guest judges to judge each day's top poem. Hmm...

Soooo, long-story short: I've already lined up 10 guest judges with 20 more to come. As soon as I have all 30 judges (for 30 days) confirmed, I'll send around another update that lists them.

I didn't think I could be even more excited about this year's challenge than last year's, but... Wow!

We'll still be offering the certificate and badge to people who complete the 30-day challenge. And I'll send around complete rules when we get even closer to April, but I just wanted to share the awesomely amazing news!

Whether it's concerning fiction, nonfiction, poetry, script writing, etc., one of the more common questions I get asked by writers is something along the lines of, "What is getting published now?," which also can be re-phrased as, "What is currently hot in publishing?"

Writers naturally want to find success in their craft and trade--just as people who golf or run seek success at whatever level they participate. In golfing and running, it's easier to track progress. For golfing, you know you're doing better if your scores are going down. For running, you know you're doing better when your times are dropping or when you're covering longer distances. So writers naturally look for a way to measure their success in writing and often use publishing, financial reward, and/or critical acceptance as their measures. And these can be good measures if you're following your own path.

In publishing (and writing), you don't want to follow trends for the sake of getting published, seeking financial reward, and/or critical acceptance. And here's why: Trends are moving targets. 

Usually by the time a trend is established, there are already experts working the trend backwards and forwards. So, there isn't room for newbies unless you have a significantly different take on the established trend. In other words, following what's hot now doesn't guarantee publication in the future.

So, of course, if publication is guaranteed, then financial compensation isn't guaranteed either.

Since we're talking poetry here, financial compensation shouldn't be a big concern anyway, because there's not a lot of money to go around in the first place. But even if you secure publication, you may want critical recognition, which will be very hard to come by if it's perceived that you're just following a trend.

No. You need to pay attention to what's happening around you, including what you like and don't like. But then, you've got to march forward with your own vision. You need to do YOUR thing.

Rejections will happen whether you follow the trends or not. Acceptances will, too. But if you're marching to your own beat, then you'll find that eventually other writers may be following you. Plus, as you find success, you'll realize there's more reason to feel confident with your own voice.

I received the following question via e-mail from a poet who wishes to remain anonymous:

Believe me, editors (especially of well-respected publications) are not afraid to send rejection notes. So, it's not good news yet (because your work hasn't been accepted), but it's not bad news either. Unless you don't like waiting around for responses.

If you're tired of waiting and the well-respected publication doesn't allow simultaneous submissions, then you can always respectfully pull your work from their consideration. Or you can move on as if it was rejected.

Many editors go over their stated guidelines, especially when they are drowning in submissions from eager writers. Often, response estimates are given by editors who are overly optimistic about how quick they'll get through everything.

One way to avoid this problem, of course, is to only submit to publications that accept simultaneous submissions. While I'm not a simultaneous submitter myself, many well-published poets are. If you go down that road, just make sure you have a good submission tracking system in place--so that you can notify journals when specific poems have been accepted for publication.

*****

Click here to check out other Poetry FAQs from Poetic Asides: http://blog.writersdigest.com/poeticasides/CategoryView,category,Poetry%20FAQs.aspx.

*****

If you wish to submit a question, e-mail me at robert.brewer@fwmedia.com with the subject line: "Poetry Question".

Grisel Y. Acosta has shared some more of her experience at AWP in Chicago: http://writetoright.blogspot.com/2009/02/awp-or-zombie-fest.html

Looks like there was plenty of room for surprises at the event.

*****

Also, I see that the Poetic Asides Chapbook Champion, Shann Palmer, has self-published and is selling copies of her winning chapbook: "Change." If you want to check it out, go to: http://shannpalmer.blogspot.com/2009/02/buy-my-change-chapbook.html

I'm sure Shann would appreciate your support!

For a few years now, I've been aware of J.P. Dancing Bear's work--from seeing his name floating around in literary journals. It wasn't until we became friends on Facebook (a year or so ago) that I knew he was the editor of American Poetry Journal and Dream Horse Press, as well as host of "Out of Our Minds" (a weekly poetry program on public radio station KKUP). Dancing Bear is also the author of What Language (Slipstream), Billy Last Crow (Turning Point), Gacela of Narcissus City (Main Street Rag), and--most recently--Conflicted Light (Salmon Poetry).

Here's a favorite poem of mine from Conflicted Light:

Auricle

I heard the humming engine
of a heart smaller than an anvil;
in the hummingbird's forest
my ear was mistaken for a flower--
I should be complimented
for the brief moment before
the taste of my ear canal
will forever mark the thin tongue.
The hunger that was whispered
to me, woke me from a dream:

I was the drum in the redwoods,
the tongue of green prophesies,
the anvil of summer hunger,
awakened to the canopy songs
that had lain in the linens of leaves
I called my stomach. Now I hear
the hammer's rumor of sparks
on the anvil and can taste fear.
Now I realize I worked for years
in the coded silence of a paper heart.

*****

What are you currently up to?

Well, I tend to keep fairly busy most of the time.  Right now, I'm working on getting Bruce Cohen's book, Disloyal Yo-Yo, published.  I'm also putting the final touches on my next book, Inner Cities of Gulls, which will come out by Salmon Poetry next year.  I just went through and revised my other manuscript for submission to a few contests. I've been writing two other manuscript/projects, Birthday Notes and Dancing to Orphee's Radio. Then there's reading for the Dream Horse Press and the APJ.  

You're the editor of American Poetry Journal and Dream Horse Press; you host the "Out of Our Minds" radio show on KKUP; and you’re constantly getting your own writing published widely. How do you manage to wear so many poetic hats at once?

I try not to think about how much work there is to do. I try to remain focused on whatever the task is at hand, get it done and move on. I think it also helps that I normally don't require as much sleep as most people do.  I've been a 4.5 to 6 hour sleeper since I was a kid—used to drive my parents crazy that I would stay awake until 2 sometimes 3 in the morning.  And for the longest time, my writing time was between midnight and 2 a.m., but I've learned to write whenever the mood takes me.  Dream Horse requires and APJ require that I set aside whole portions of a day to work on them.  I like to work at least 4 to 8 hours straight on either.  

Your recent collection, Conflicted Light, was released by an Irish publisher (Salmon Poetry). How did that come about?

I think Jessie Lendennie (the owner of Salmon Poetry) and I were on a large group mailing list together at one point. I tend to lurk, but I will chime in when I think I have something to offer on a topic that hasn't already been expressed.  I had piped up about something and about a day later I got a message from Jessie saying she'd read my work and really liked it.  I had been a fan of Salmon Poetry (I've got several titles on my shelves) for quite some time, and well… the rest just fell into place.

What do you feel makes a great collection of poems?

I think there are any number of things that work to make a great collection of poems.  If you are asking me to step out of my Dream Horse Press editor's hat, then I would say that a great collection of poems is one in which every page is something to be savored. That you read the first poem and it is like a fine and delicate morsel of food. You want to take your time and enjoy it. You know just from that first poem that you are in for a gourmet meal. You do not want to rush to the next page, you may want to read one or two poems a day.  And reread them. And then again.

If I'm wearing my Dream Horse Press editor's hat… I like to look for collections that hold together as a larger poem. I also enjoy crafted poems that clearly show the writer's knowledge and skill without taking away from the poem at all.  In other words, I think there should be something in the poems for a second and third reading that make those just as enjoyable as the first reading. 

On a poem-by-poem level, what is the typical life of one of your poems—from idea to publication?

I tend to work in projects or manuscripts first.  So a project comes to me sometimes as a couple of poems that I can see go together, or I will sometimes challenge myself in some way, creating a set of rules that I have to follow. I don't have one set way of writing a poem, sometimes it's a line that comes to me, sometimes it's an idea or a thought I begin exploring, sometimes it's an image, and sometimes it's a voice. I will usually play with it in my head for several days. Rolling it back and forth, adding to and taking away from it until I feel there's a core something there.

Then I will write it down, usually the first draft will take about an hour. I will then read it aloud and edit it until I think it "sounds" right. Then I have a few friends whom I might "try it out" on. I'll get feedback and "try" to incorporate that back into the poem.  Then I'll set the poem aside.  I will generally write about three quarters to four fifths of a manuscript (or when I know there's only a few months left) before I start sending poems from that project.  

I do this for a number of reasons: One, it gives me distance from the first poems I wrote in the series, so I can stand back and look at them and decide if they are ready, or edit them to the point of being ready; Two, I will not get discouraged about the entire project if the poems are rejected, and therefore question whether I should continue working on the project; Three, the editing and submission functions, I find, are distractions from the actual creative action, so I don't like to do that until later in the project. If a poem is accepted, I may want to tinker with it a little more, nothing too big, a word or a phrase at most. If a poem is rejected, I will go back and review it, read it aloud several times, possibly revise it, and send it out again. At the point where about a quarter to half of the manuscript has been published, I will begin sending that out.

The exception to this rule has been my Birthday Notes project on Facebook.  The rules I set out for myself is that the poems have to be written using an application available to me when I go to the person having a birthday that day's wall, I will also put them together and publish them on my Notes/Wall page, and I write a prose poem there on their wall and it has to be done on that day. Since it's all done on the spur of the moment, it's a different kind of writing. I have to make a decision and run with it right away. Sometimes there's been as many as nine of them to write, and you just can't deliberate choices and ideas.

How important do you feel community is to a poet?

I have mixed feelings about it. Online, I tend to enjoy being "connected" to writers all over the planet. We have fun, and I think some of us are playful. I also enjoy playing word games with other writers. And touching base with them. 

The physically local writing communities really depend on where you are and who you fall in with. I think it also depends on the types of personalities that are part of the formal organization. I remember back in the late nineties a group of us used to get together, go to readings, put together potluck gatherings and had a lot of fun doing it. It was all done in the spirit of openness and we were trying to reach across political, group or community lines. The events were very informal and fun.  I've been part of more formalized organizations and it frankly wasn't my cup of tea. 

I appreciate those kinds of groups when they are done right, and one of them I think that does a good job is Poetry Santa Cruz, they present or sponsor a couple of readings a month (usually at least one with a writer who is visiting the area), and are involved in fostering a strong poetry community.

However, I tend to be better with the online community because I can work in being a part of them to compliment my schedule, I cannot necessarily do this with the physical ones.

Who are you currently reading?

Eesh.  This is not an easy answer for me because I am constantly reading. And I could answer this with any number of parameters. So first, I'll split out the dead writers and list them (in no particular order) first: James Wright, Federico Garcia Lorca, Robert Frost, John Berryman, Larry Levis, John Logan, Sylvia Plath, Ted Hughes, Lynda Hull, W. H. Auden, Neruda, Paul Celan, and Reginald Shepherd (if you ask me tomorrow, I'd probably have a different list depending on memory).  

I tend to read a lot of magazines (both online and printed) and there are certain names that I will naturally gravitate to and read first, and I would say the same holds true if I'm in a bookstore and I see their name on the spine of a book (and I am going to limit this list to authors with more than one book published): Nance van Winckel, Natasha Saje, Mary Ruefle, Roddy Lumsden, Kathleen Jamie, Ralph Angel, Jack Gilbert, Mary Jo Bang, Carolyn Forche, Tony Barnstone, Willis Barnstone, Jim Powell, Dorianne Laux, Margret Gibson, Mary Oliver, John Ashbury, Paul Guest, Mark Doty, Sherman Alexie, Robert Bly (and again, these were off the top of my head, and I'm sure I would have a different list tomorrow). I will also add that I read and seek out any of the authors that I've published.  And just to round this off, if you are a friend of mine, naturally I'm going to read your poem if I see it.

I will also say that I like to read many different writers and have an ever-expanding list of favorites. I feel, that it is essential to keeping an open mind and to being a good editor.

If you could share only one piece of advice with other poets, what would it be?

Constantly push and challenge yourself to do new things and learn new things.  If you've never written a sonnet, then challenge yourself to writing a crown of sonnets. If you've never written anything other than formal verse, write a prose poem.  Breaking down things, understanding the craft behind them and rebuilding the way you write only makes you a stronger and better writer. Never, ever think you are "there"--always be on the journey.

*****

To learn more about J.P. Dancing Bear (including Dream Horse Press and American Poetry Journal), check out his website at http://home.comcast.net/~jpdancingbear/.

To learn more about Salmon Poetry, which published Conflicted Light, check out their website at www.salmonpoetry.com.

Here's a free writing contest: http://www.writersdigest.com/redheartblackheart

The basic concept behind this free writing contest is that you can write a poem, essay, or letter that either celebrates love or tears love down.  Here are the categories:

* Love Poem
* Black-Hearted Love Poem
* Love Letter
* Rejection Letter (as in rejected love letter)
* Essay on Love at First Sight
* Essay on Lost Love

The deadline is February 6--so this sounds like a good weekend project.

The prize is a $250 shopping spree to the Writer's Digest online store, in addition to several other very cool benefits.

To check out all the details, go to http://www.writersdigest.com/redheartblackheart

And have a great weekend! On Monday (Groundhog Day), I'll be sharing the results of the November PAD Chapbook Challenge. (Even the winner has no idea who he or she is.)

I don't usually highlight single magazines that are accepting poems, but I'm going to make an exception in this case, because it's the only F+W Media magazine (of which I'm aware) that is accepting poetry at the moment, Horticulture.

Here's the press release from Guy Gonzalez:

It's been some time since I've tackled a poetry question. This question was sent in a while ago, and deals with a situation I've experienced personally myself (and is probably common to many poets who've submitted their work long enough).

What can/can't we do with a poem that was either accepted by a journal and then never used, or accepted by a journal that died before they used it?

First off, let me just say that I'm not a lawyer, so don't take my word as law. That said, I can't imagine a lawsuit involving poetry, and I'm married to a paralegal.

I'll address the latter case first (the journal that died before using the poem). Unless the journal bought the rights to your poem before dying, I don't see any reason why the poem would not still be considered unpublished. While it's disappointing that the poem was so close to publication, you should be able to move the poem back into your bin of poems that need to be submitted.

If you were paid for the poem already, then you may need to contact the editors about releasing the rights to your poem. But if the journal died before they used the poem, you probably weren't paid.

The other case (the journal that accepts a poem and never uses it) is only a little more complex. If the journal accepted your poem and has not paid you for it, then contact the editor to find out what he or she plans to do with the poem. If the editor does not have an acceptable answer to your query, then request that it be removed from consideration in a future edition of the publication. And I suggest being nice about how you handle this, especially if you may wish to submit to that particular publication or editor again. In this case, as above, the poem would still be considered unpublished.

If the journal accepted your poem and has paid you for it, things can get a little trickier. Most likely, you will need to pay back the publisher, and there's even the (very slight) possibility that the publication will not release the first publication rights to the poem. I doubt the situation would come to this in 99.9% of the cases. Most editors/publishers want to work with writers, not against them.

*****

Click here for other Poetry FAQs.

If you don't find an answer to your question there, then feel free to send me an e-mail at robert.brewer@fwmedia.com.

I just checked my gmail this evening and saw that the most recent edition of DMQ Review is out, including a poem by yours truly. Just go to http://www.dmqreview.com/.

In addition to my poem, there is work by Chad Sweeney, Lana Hechtman Ayers, Claudia Burbank, Arlene Ang, Joan Fiset, Ellen Elder, Paul Fisher, Virginia Konchan, Fritz Ward, Robert McDonald, Rebecca Morgan Frank, and Mary Wang. Plus, the featured poet is Ellen Bass.

Cool stuff.

In anticipation of the November PAD Challenge (which starts Saturday!), I threw out the above question to members of the Poetic Asides group on FaceBook: What makes a great chapbook?

Here's what some of them had to say:

An interesting mix of poems on the same theme, not always by the same writer but with visable threads which tie each piece together or take the reader on a journey, turning the page again and again.

Sue Forde

*****

I think that a great chapbook is written around a theme and its variations. That theme might be the subject, the place, the people in the poem, a primary metaphor.

The variations might even involve different forms, different rhythms--a different sense of momentum.

And the whole chapbook builds on an emotional arc (it may even build along a narrative arc, if that fits the theme).

Granted, neither of my chapbooks reflects that thinking, although parts of them do. But this is the way I'm writing and developing chapbooks now.

Joannie Stangeland

*****

A chapbook is a universe, and the poet is the solar designer. The planets and moons, no matter how far out, need to follow their own laws of gravity. From the quark to the gravitational force, it needs to make sense to the poet or editor, even if it remains a mystery for the audience.

Jesse Loren

*****

Consistency of vision: a motiff, a strong extended metaphor. Kinda like making a kick ass mix tape.

Scott Whitaker

*****

Here are some thoughts:

1.) Excellent writing, whether for poetry or prose; 2.) a good editor who knows how to place individual pieces together which work in harmony and add cohesiveness to the project; 3.) having an understanding the audience of the chapbook and knowing whether the intent is to entertain, inform, enlighten and/or give some cause for pause.

It helps to have a nice cover too, to initially attract an audience, but the work has to stand on its own once the cover is opened.

Rj Clarken

*****

A great chapbook: when the poems taken as a whole allow the book to function as the final poem of the collection. I think I'm plagarizing Robert Frost here.

Charlie Cote

*****

I think with a chapbook you should either go the route of trying for as much variety as possible, to show your full range. The danger with this can be the tendency towards being uneven.

The other option is to go the total opposite and have a unifying theme, build it so it is more like a concept album with each poem exploring facets of a larger idea. This runs the risk of going in the total opposite and having everything too samey.

I think sort the framework out and then kind of forget about it and just concentrate on the individual poems.

Paul Grimsley

*****

After having read dozens of chapbooks, and sent out numerous versions of chapbook manuscripts, some as sort of a variety pack, and some ordered so that there was a definitive narrative arc, I have determined that what works best and what most editors (and readers) seem to be looking for are collections that focus on a single theme.

Because they're small, they are easily read in one sitting, so a series of linked poems -- sonnets that explore the complicated relationship with the body, an abecedarian where each poem interrogates a single letter, a series of ekphrastic poems -- is a great way to go.

My chapbook Small Fruit Songs is a series of poems written on a single theme in a single form: fruit-related prose poems. Once I had the concept in place, I wrote the whole thing in under a week, and the first publisher I sent it to accepted it within just a couple of days.

Cati Porter

*****

A chapbook is an opportunity to focus, and every good chapbook I've read had a clear theme or stance, typically with an arc of development. As a small press publisher, I find that thematic development and careful arrangement is what makes a manuscript submission rise above, as opposed to the seemingly random compilation of a selection of one's poems.

In journalism, feature articles (as opposed to hard news) often hang on a "news peg," or something that connects the feature to current events in everyday life. It's a hook, and functions just like the musical hook in a pop song. As long as it remains intelligent and avoids excess gimmickry, I think the concept of chapbook should do the same.

Nancy Pagh won the 2008 Floating Bridge Press chapbook contest with her collection After, with each poem being written "after" a particular poet. Each spread starts with the epigraph on a left-hand page, with the poem on the right, so the idea is abundantly clear. That's the hook, the concept. In a way, it's like an invented bucket (or drawer) that readers can categorize the book into, thus making the book more accessible. The real substance is deeper, of course, and in Nancy's case it's the emotional sway that underpins the poems in their darkness and fearless grit.

The art of chapbooks, of course, is the limitless pursuit of different ways to create an original theme, a hook, a stance, finding the right balance between intrigue and challenge while avoiding facile or cliched gimmickry. A good chapbook not only has solid poems, but often has an idea behind their assembly that makes me wonder "Why didn't I think of that!"

Michael Dylan Welch

*****

A great chapbook excerpts the general aesthetic of the author, while allowing a little leeway for them to explore either something new, like style or form, or topical that might not fill a book. I would argue it's not a "teaser" or a "taste," rather, a chapbook is a complete and individual, shorter work that may appear, in whole or in parts, in a larger body of work later.

Todd Dillard

*****

I've just become Co-director of Flarestack Poets, a new incarnation of Flarestack Publishing which has a reputation for producing some of the best chapbooks (or pamphlets as we tend to call them in the UK) in Britain. Here's the statement we put together that explains what we think makes a great chapbook:

We're looking for poetry that dares outside current trends, even against the grain... collections that aren't bus queues or greatest hits albums from poets who are forging their own linguistic connections with the root-ball of experience.

Jacqui Rowe

*****

Content (especially poems or prose pieces that work together to form a whole) coupled with design. A chapbook should feel good in the palm of your hand, should look good sitting on the edge of your desk.

Corey Mesler

*****

This is an interesting question since I will soon be judging a chapbook contest for Rosemetal Press. I'm interested in reading your summary post to get some insights.

The challenge I faced in putting together my own chapbook manuscript (I Call This Flirting, Flume Press 04) was fighting against the brevity of the form. My first stabs at ordering the short-shorts (it's flash fiction, not poetry) made the book read like running water. You just zipped right through with no stopping points. In this way, the early drafts seemed neutral as a whole. I was trying too hard to make it "flow." It didn't work.

I decided to break it up into sections--putting in resting points as it were. The section break pages each quote a made-up fortune cookie fortune... The sections are thematic but not obviously so. After I did this, the chapbook seemed longer and fuller. I also frontloaded it with the most powerful work (in my opinion, of course) leading the chapbook.

Unlike a novel or a full-length collection of poetry or stories, I think with a chapbook you have less time to build momentum. So your challenge is to artificially create the kind of depth a reader experiences with a longer work. A chapbook invites an all-in-one-sitting reading so I guess that ups the reader expectation in a way...

When I love a chapbook, there's a kind of resonance and completion when I hit the last page. It makes me want to look the whole little book over again, amazed that it's so short but seems long. I want to think about it, and then pick and choose favorites as I reread--not in order--the second time.

Sherrie Flick

*****

A great chapbook, to me, connects in some kind of way. It doesn't have to be a theme, but something weaves them together. Maybe it can be a chapbook about, say, a relative, and all the poems mention that relative and it can be titled after that relative. Also, chapbooks should be short (like 10-20 pages) and consist of the BEST poems, no fillers. Not poems that can't stand on their own.

Melissa McEwen

*****

Stature: If it has the stature of a book, it is a great chapbook.

Sally Evans

Recently, I asked members of my Poetic Asides group on Facebook to give me their take on the relationship of self-publishing and poetry. The response was so overwhelming that I couldn't include everything (and I apologize if your take was not included--or had to be edited), but I did get a lot.

If you feel like adding your own voice to the discussion, just leave a comment below.

Here's some of the great feedback:

As long as a person understands the differences between self-publishing and traditional publishing, and understands the pros and the cons, ie, the additional work involved for the poet, the responsiblity for self-promoting which needs to accompany the self-publishing, and choses the press with care, I believe there is nothing wrong with self-publishing. There is a history in literature of great poets having things to say and yet not having a publisher recognize them until after their death. For example, Emily Dickinson remained largely unpublished for the duration her life, yet still took the time to create booklets of her own poems, gathering them into groups, and hand sewing them together. If a writer feels that there is validity in their work and is willing to stand by it there is nothing wrong with chosing to self-publish even if it is only to feel a sense of completion so they may move on, to the next project.

Julia Ann Unruh

*****

Didn't Robert Creeley self-pub 10 chapbooks before he'd made any name for himself? It's a good idea, I think. If anything, the good ones serve as a sort of calling card, and it's a cheap enough route one could break even on sales well before selling out of a run.

Scott DeKatch

*****

With so few publishing houses and extended waiting periods, I think self-publishing might be a good option for many. Getting a good editor before publishing, however, might be a good idea. I'm all for it!

Helen Zisimatos

*****

Next to targeted non-fiction, I think poetry is the most logical work for self-publishing, especially for those who actively pursue readings, whether featured, open mics or poetry slams. The market for poetry in bookstores is miniscule, and the majority of presses aren't going to print more than 1,000 copies -- more likely 500 -- and have little wherewithal to actually promote them, so a self-published poet is going to have to do all of the legwork any way. Why not take on the easily calculated risks of production -- small initial print run + POD = minimal upfront cash layout -- and keep 100% of any profits made on hard-earned sales?

More thoughts on marketing here: http://loudpoet.com/2008/07/11/thrillerfest-buzz-your-book/

Guy LeCharles Gonzalez

*****

It all depends on what you want to do with your work and where you are as a writer. If you're just starting out and want something to sell/give away at readings and open mics, then make you own chapbook. If you want to be published by other people, self-publishing can be problematic, as many places won't accept previously published work.

The best route is to publish yourself within the context of publishing other people: ie, feature your work in the first issue of a journal or chapbook press, but then focus on other people.

Hugh Behm-Steinberg

*****

With Print-on-Demand so easy, relatively, self-publishing makes sense in some situations, outside the academic world. My husband and I spent a summer taking photographs of Langston Hughes sites in Lawrence and researching his boyhood years 1902-1915 in our hometown. We did not assume this to be a definitive scholarly book, but rather a chance to document information before it was lost. We self published the book, and to our deliglht, some scholars have made use of it. If we had rewritten it and worked with an academic press, it would have take 3-5 years!

I encourage writers of poetry to work within their communities, and when their work begins to overflow their town and region, then submit works to national markets. Self-published anthologies of regional work can be self published to good purpose.

Denise Low, Poet Laureate of Kansas (2007-2009)

*****

I've been hosting poetry in Las Vegas since 1999 and am fairly well-published in various journals, magazines, etc. Many of my friends have pressured me to produce a chapbook, but I have an odd stubborness about it. I feel as though if I self-publish, it's not legitimate; it's vain. Others would argue differently, but I don't think my work is valid unless someone else recognizes its publish-worthiness.

Danna Jae Nordin

*****

It seems there's a double standard out there among various media when it comes to self-publishing. For instance, why is it acceptable--and laudable, even--for bands to release their own albums and filmmakers to release their own films, but it's looked down upon for a writer to release their own work? This is especially the case in academic circles.

Some of my favorite reads were self-published: Al Burian's "Burn Collector," Aaron Cometbus's "Cometbus," among others. While there is a stigma attached to self-publishing outside of the underground, that doesn't inherently make the work good or bad, because the content is what counts.

Jason Jordan

*****

There is only one commercially legitimate way to self-publish your work and that is to learn the Book Arts (Binding, Macrotypography, etc.) and bind the books yourself. If you self-publish using one of the many 'services' for that purpose your work will still hold no water with publishers whatsoever. If you start your own small press, learn the trade, and establish an actual record of sales in differing demographics, then publishers will look at you in a legitamized light.

Drew Wiberg

*****

If there is no other way to get your stuff out, I don't see anything wrong with it. It might just be a way to be recognized as, after all, a lot of publishers don't seem to read. And even if they do, they want quick money, not quality.

Monique Caddy

*****

I teach undergraduates and at near the end of the course they have to memorize a poem and make a bookmark, broadside or chapbook of the poet they studied during the semester. They come up with the most beautiful and innovative broadsides I've ever seen using materials anyone can buy cheaply or scrounge up from around the house. I bring in examples from prior classes to show them how inexpensive it can be to get a poem out into the world. These aren't their own poems, but clearly that could be the next step.

With the economy closing in on us, poetry, an already marginalized, under-represented market (because there is not now and never was a big market for poetry books) will see a drop in sales. Barnes and Noble has already removed all poetry books from their shelves in an effort to cut back. They will re-order, but only titles that sell extremely well--Billy Collins, Mary Oliver, Sharon Olds, and major award winners. This leaves little room for the little guy or gal. So, in my mind, self-publishing, as well as self-distribution, may just be the wave of the future for poetry.

Small Presses may also find themselves going under during these tough economic times which means fewer contests, fewer venues for publication. Even poetry journals will surely stumble under the weight of the inflated dollar. As a result, we may see a surge in online publications. It's so cheap to make a broadside, a chapbook or even a full-length collection on computer. Something to note, even the Pushcart Prize is now accepting online publications for their yearly prize, and so these journals are becoming more accepted as legitimate. I think self-publication, as a result, is also finding and will continue to acquire more legitimacy.

This doesn't mean that there will be more good poetry out there. That's one of the legitimate gripes about self-publication. Just as anyone who fiddles with car engines and then decides to put up a sign and open shop is not necessarily a good mechanic. Just as there are good doctors and not so good doctors. The same holds true for those who write, maybe more so. But hey, there's already a glut of bad poetry on the market, legitimate prize-winning poetry.

The rush to publication is a problem with American poets who tend to view product above process, who seek recognition at the expense of excellence, who are self-satisfied rather than self-critical, and the worst, who spend more time writing and trying to get published than they spend reading and studying great poetry.

So, my advice, is to find people who are both strong advocates AND strong critics of your work and ask them: Am I ready to publish? Rule of thumb: You should have been working seriously at your craft for at least 10 years before you consider book publication. You should have at least 20 or 30 good magazine publications under your belt, along with a wealth of rejections. You should attend workshops, conferences, programs if money allows to garner feedback on your work. All the same holds true for self-publication. If you decide to self-publish, the rules haven't changed, just the venue.

We all know Walt Whitman believed enough in his work to self-publish and we're glad he did. He also rewrote and revised furiously. With self-publication--the time and expense of it--maybe more poets will think twice before flinging their poems out into the wine-dark sea.

Dorianne Laux

*****

I have never self-published but I did have contracts with two subsidy publishers...against both of whom I wound up in class action lawsuits. One publisher and her husband went to jail for cheating authors out of their money and not delivering on their promises. Those associations left a decidedly bad taste in my mouth and my pocketbook minus thousands of dollars.

That said, the first publisher did print thousands of my books (not the 10K as contracted though). I was able to parlay those books into a good career for myself (primarily on the web). Now, 60 small-press published books later, I can look back at that time as a learning experience. It taught me patience and humility. I have also tried to counsel newbie authors but I've found that's generally a waste of time. They are going to do what they are going to do and if what you suggest doesn't mesh with what they've decided to believe, you are wasting breath and effort. Some people can't be helped. They have to learn the hard way.

Would I self-publish? No, I don't believe I would. I would try every e-book route available first and use self-publishing as an absolute last resort. Would I subsidy publish again, suggest other writers do it? HELL, NO! The reason why is simple: at least with self-publishing you have some say in how and when and why you spend your money. With subsidy/vanity, you do not. You are at the mercy of just how honest that publisher is or isn't. There are too many reputable e-publishers out here who will look at your work and if it isn't good enough for them, chances are it won't be good enough for readers to buy. If even the poorest e-pub won't contract your work, it just might not be as great as you believe it to be. If you publish anyway and then place it before reviewers, be prepared to have a new one reamed for you.

Then there is the monetary to consider. For every $1.00 I make on my print books, I make $100.00 on downloads. The reason is simple: distribution via the internet. There is less overhead for the publisher and the royalty percentages are far greater than trying to get the books into brick and mortar stores. Your book never goes out of print and a reader can get it in the middle of the night during a snow storm while sitting in their jammies. That's a good incentive for some buyers. Most small pubs have very low prices on downloads but the NY boys are getting into the market with the inception of the Kindle et al and the prices are being traditionally hiked up to what the cost of a mass market paperback would be. That's highway robbery but hey! Anything the traffic will allow, eh?

As for poetry: I have been in a couple of anthologies and as a rule they just don't sell. I love poetry. I read poetry but I don't buy books of poetry. I can't see self-published poetry books fairing much better than those put out by publishers. In this day and age, people are moving away from the calmer, gentler forms of entertainment. We are not producing new generations of readers but rather generations of Xbox clones. That's a shame for there is so much solace in a well-crafted poem.

Charlee Compo

*****

On principle I'm against self-publishing, because it means skipping an important phase of a writer's work, i.e. submitting it to the appreciation of professional and expert readers. But there's the other side of the medal: most readers aren't interested in poetry, poetry books don't sell, and publishers generally don't invest their money in producing books without a financial return, so it's difficult for a poet to get published by a third part. The best way to work as a poet is, as we know well, submitting to specialized reviews or taking part in literary competitions.

This said, getting published rather than self-publishing doesn't mean more readers. If you're lucky, 100 will read what you write, maybe 15 will like it, and 5 will understand it.

Is self-publishing a good thing? Ezra Pound self-published his first book, and many great Italian poets did the same. Probably they had no other choice, but time is the best judge.

Valeria Di Clemente

Pescara, Italy

*****

There was a time when I would have said that self-publishing was a relatively harmless route. Now I would discourage any serious poet who asked me. My reasons? Glad you asked.

A. The ease with which it can now be done has really diminished the currency for all poets. I suppose vanity presses have always existed but now anybody can go to KINKOS and publish their own chapbook quickly and inexpensively. So in effect, being published proves next to nothing. Anyone can call themselves a poet and anyone can be published.

B. I regret having self-published some chapbooks because, despite the sense of self- accomplishment, and actually BECAUSE of it, I suspect I was less motivated to perfect my skills and hone my craft, instead of waiting till I was good enough to earn acceptance from an objective third part. I suppose a possible exception would be that if you'd been trying for a long time, and published in a lot of fairly prestigious journals, and a couple of TRUTHFUL, OBJECTIVE writers validated the value of your work, self-publishing might be OK.

C. A surprising number of presses holding first book and chapbook contests have made it clear that those who self-publish are not eligible. So according to those standards, you could create a chapbook and give 10 copies to friends at Christmas and they would not want you to enter.

Seems REALLY harsh but there it is. You would know even if they didn't.

Christopher Soden

*****

I would never self-publish a regular book of any kind (as opposed to a chapbook). Even if you opt for one of the companies that charges for set-up, then prints on demand, the expense is significant and the price you have to charge buyers for each book is much larger than if someone else with a press publishes it. A ibig issue, too, is marketing. Even poets who read regularly have a difficult time selling any quantiy of books. Poetry books, especially, are a difficult sell, unless the publisher has an agreement to sell to libraries, certain bookstores, or colleges.

I would self-publish a chapbook since I have a program that prints in book form. With a laser printer that goes on forever, the cost would be minimal. I say that I WOULD, but haven't done so. I've been fortunate enough to have offers for my first three chaps.

Pris Campbell

*****

One thing to consider is that some publications will not even consider running a review of anything that could be considered self-published.  I heard from a man this week who had published a book of fiction, but (he says) the publishers put little effort into publicizing his book.  He said he had decent sales without publicitiy, so he bought back the rights to the book and the remaining copies.  He was then told that doing so, technically, made his a self-published book now, therefore ineligible for "serious attention."

My experience in publishing poetry is slim, but I would think one should pursue all the avenues for publishing first. 

Nancy Posey

*****

I think small chaps are a great thing, when you have enough to sacrifice some. This is mainly a poet-to-poet world, so small inexpensive bait is a good thing. The quality and originality still has to be high, since this is a "showcase". The small chaps I really like have quirks and thoughts unique to that poet, so I try to do that also.  It's a souvenir.  A size mailable in a #10 envelope and a token price (free, or send back stamps in a bag?) is fun.

Jim Knowles

*****

Self-publishing is like a very large business card or portfolio. It's self-promotion which is personal-scale. You can participate in the gift economy to exchange small print-run (or photocopier-run) works without a big cost out lay. If you go thru a print on demand company, the overhead is still low.

One of the drawbacks is that if it is only you promoting you, the distribution networks and the onus to spread the material is all on your shoulders. If you work cooperatively with a group, channels can be shared. There's more credibility if a group says you are good than if you alone say you are worth the time to read. If you are published in magazines and thru other people's networks you are less in control of what goes to print but your works can be accessed by more people.

The other main drawback is that by self-publishing you may set the bar too low. You may (or might now) rush to publish before the work is polished enough. An editor or more experience or more time sitting with the work could give room for improvement. The gating of going through someone else can hold you in a purgatory that is useful for more refining time.

Pearl Pirie

*****

I, and several other poets I know, have self-published chapbooks.  I think that self-publishing works perfectly for chapbook-sized collections.  It allows the poet to gather his/her work in one place, or follow one theme without the need to fill 90 or so pages.  It allows the writer also to dip his/her foot into the world of "merchandising" your art--seeing what it feels like to have a larger number of readers looking specifically at your work--without having to submit to the intricacies of having someone else publish you.  

And, don't underestimate the psychological value of having a collection of work "published"--ie in book form, bound, ready to hand out or sell to anyone who will have it.  It all helps you to take yourself and your work more seriously.  So I believe it is a great first step on the road to publication.  

Of course, it is not a substitute for being published by an outside publisher, someone who doesn't already love you.  That not only has even greater psychological implications, but also catapults you into a community of writers who have also been published by that publisher.  

I have found this to be one of the greatest results of all of being published by bluechrome over here in the UK.  But self-publishing, especially for poets, is a great first step.

Sue Guiney

Okay, this question has been coming up a lot recently in the comments section of this blog: What counts as previously published? And, in relation to this blog, does posting a poem in the comments of this blog mean it's "published"?

Before I begin, I think it would be beneficial for you to read this post from former co-blogger and Poet's Market editor Nancy Breen about the whole publishing question in "Published is Published!"

For Individual Poems

Many editors consider anything published anywhere at any time under any circumstances as published. This can even include public readings. And if a publication specifies what they consider published in their guidelines, it would behoove a poet (or any writer really) to respect the editor's considerations.

With such editors, a poem posted anywhere counts as publication, whether it's posted in a public forum or blog, or even a private, password-protected location online. In such cases, poems posted on this blog would be considered "previously published." However, there are editors who take a slightly different view.

Some editors consider a poem unpublished if it only displays on a personal blog and/or is in a "draft" form in a forum or blog. That is, if your poem on Poetic Asides is only a rough draft and not the final version, it would not be considered "previously published." If editors do not specify what they consider previously published, there's a good chance they fall into this camp.

For Poetry Collections

Except for rare cases, most editors/publishers of poetry collections accept previously published poems as long as the collection itself has not been previously published. Actually, the fact that poems are previously published usually helps in getting the collection published. That said, do NOT try to use poems posted on a personal blog or public forum as a publishing credit. Such credits hold little weight, since there is usually no screening process, because eveyone can get published.

My main point here is that individual poems that are considered published by journals can still be considered unpublished as components of a poetry collection. And that even individual poems that are considered published are welcome in "original" collections of poems.

In fact, "new collections" can be made from selecting poems from previous full-length collections and chapbooks.

So, How Should Poets Proceed?

Armed with your knowledge of what is and is not considered published, you've just got to pick your battles and act accordingly. For instance, most of my poems are not published on my blog, because I want to have as many publishing options available to me as possible. I share drafts of these "unpublished" poems with close poet friends to solicit feedback for revisions.

The poems I post as parts of prompts, I consider "published," though I would not use it as a publishing credit if I tried including any of them in a collection, because I also consider my poems on this blog to be "vanity publication credits." I make an informed decision to write a poem a week just for the act of creation.

Considering how much money most published poets make anyway, I don't view this as such a bad decision. But every poet has to make this decision on their own.

Okay, I've been in hiding recently because so many poets have been hounding me over who is the winner of the first ever fake bio contest on Poetic Asides. The great thing about this contest is that writers didn't need to have any "real" credits to enter--just a great imagination of what they'd like to have in their bio notes. That said, the competition was fierce--with many entrants owning impressive "real" bios.

Anyway, the judging was difficult, especially as I got closer and closer to narrowing down the field to 8 finalists from which to pick the winner. To build the suspense and share some of the fake bios I found most interesting, here are the 7 finalists who did not win:

Pris Campbell's poetry book, Sucky Relationships, was just turned into an award-winning movie, directed by Clint Eastwood. She will be featured on Dr. Phil and Oprah where she'll moderate participant's arguments about which partner sucked the most. She is currently being sued by all six of her ex-husbands who demand parts in the movie as their award. She lives with her pet monkey on an island off of Maine where she's hard at work on a sequel. Jib-Jab plans to spearhead a drive to make her poet laureate for 'making poetry relevant to the people' again.

Pris Campbell |camprisAT NOSPAMbellsouth dot net

*****

Kellian Angelou is famous and well-known for winning the Pullet's Surprise, the No Bell Piece Prize, and the Mack Arthur Genie Grant for her poetry collection exploring the uncertainty of scales, The Waistland. The Waistland is a corset of sonnets dealing with the tragic difficulty of being a size 14 in a world of zeros. Kellian received her MFA from the I-Owe-ya Writers Workshop. She currently lives with her wild emu, Walt, in the Northwest.

Kelli Agodon |kelliAT NOSPAMagodon dot com

*****

Caili Wilk has been awarded the Emily Dickinson accolade for her upcoming work titled, “I am so old”. At age 32, this will be her first award for poetry; however as a teenager she received a bronze certificate for her entry into the middle school song contest. Miss Wilk is most well known for her attempt to break the world record for typing out the letter P on a keyboard; however, after 5,328,685 times, she collapsed muttering “I need to pee”. Inconsequently, she retired to her bathroom, and has not been seen in public since developing severe typophobia.

Caili Wilk |cailiwilkAT NOSPAMgmail dot com

*****

Robert McDermott was intended to be the reincarnation of Robert Lowell but owing to a clerical error is actually the reincarnation of John Berryman. His poetry is quite remarkable and is easily the best on his ward. He is currently writing an opera about oranges and in his next life he wants to be a Shakespearean villain. His latest collection 'In conversation with Kilgore Trout' has attracted wide praise and is available in spirit everywhere.

Robert McDermott |robertmcdermottAT NOSPAMgmail dot com

*****

Odoacer Pinkyring Moses de la Salle Cuthbert-Jones is that weird guy who lives in the van parked across the street from your house. He is allergic to everything, especially air and water. His most recent book, the title of which is unpronounceable in any human language, spent 30 seconds at the top of the best seller list in the Autonomous Republic of Erewhon. One day he will destroy you all.

Matthew Falk |mdfalkAT NOSPAMsvsu dot edu

*****

Jonathan Pinnock is the author of "Apathy: A 21st Century Manifesto". He'd tell you more about himself if he could be bothered.

Jonathan Pinnock |jonAT NOSPAMjpassoc dot co dot uk

*****

Shaindel Beers, the once promising young poet, has decided after reading many literary journals, including this one, that mediocrity is the way to go. Obviously no one was brilliant enough to understand her allusions to the classical mythologies of ancient civilizations, her personal theories of metaphysics, or her unique insight into the human condition. Instead, journals have elected to publish her drunken scrawlings written on napkins at dive bars, which she then drunk types when she comes home alone from happy hours at various establishments. The other nights, little writing gets done.

Shaindel Beers |shaindelrAT NOSPAMyahoo dot com 

*****

All of these were great, but the first ever winner cracked me up--and got bonus points, because writers could actually submit a similar bio note without stretching the truth. As a result, Jessy Randall will receive a free copy of the 2009 Poet's Market. Congratulations, Jessy!

Here's her winning entry:

Jessy Randall has read poems in the Iowa Review, Ploughshares, the Paris Review, the New Yorker, and The Best American Poetry 1999, 2003, and 2007.

Jessy Randall |jessyrandallAT NOSPAMyahoo dot com

Earlier this week, I received a long e-mail from an anonymous Poetic Asides reader who asked important questions I'm sure all poets have asked themselves at some point or another in their poetic development. Here's some of the e-mail:

"I want to put together a book of poetry. I have the subject already in mind. Here's the thing. I am a fly-by-night poet. I have a hard question for you. Do you think I have what it takes to make it as a poet from having read some of my work?

"I sent in six poems to a local competition this year and didn't make it even as an honorable mention. I also sent in five or six to the Writer's Digest competition in December. I haven't heard anything, so am assuming that I didn't make the cut. Now we are talking 100 poets who made it, and I didn't get there.

"Anyway, I turn to you in a moment of despair. I am feeling low and just want a crumb to pull me out of this mist. However, honesty is what I need."

And my honesty is what this poet will get.

First, I don't advise poets to try thinking about putting together books of poetry until they've published some individual poems. It's not that a poet can't do this, but by entering competitions, I'm assuming that a poet wants some kind of recognition, and publication is a great form of recognition.

Second, contests are great, but they are competitions, which means there are several other poets battling it out for the top poem(s). If Writer's Digest recognizes 100 poets, for instance, then they must receive thousands of entries for the competition. Keep in mind that most competitions produce a minority of winners and a majority of losers.

Third, I'd suggest spending less time entering competitions and instead submitting to online and print publications that publish poetry that fits your style. Yes, this means you should devote time to reading online and print journals to see what fits. (Note: This is also a great way to learn from what works and doesn't work in other poets' poems.)

Fourth, it sounds like you need involvement with other poets, whether online or in person. I would suggest trying to get a small critique group together, either by contacting other poets online or trying to do so locally--either through your local library or bookstore. You'd be surprised how many poets are all around us.

Finally, only you can say if you have what it takes to be a poet. Do you feel compelled to write poems even facing the possibility that no one will ever read your work? If so, you are and will always be a poet. Poetry is not a form of writing that will earn you much fortune and glory, so using recognition as your "poet worth" gauge is probably not the best idea.

However, recognition can be a powerful fuel for the poetic motor. So get involved with some other poets; read and submit to publications; and keep writing. The rest will take care of itself.

Some of the poets I've interviewed for this blog were sought out by me; some have been recommended by other poets; and some have come to me on their own. In the case of Martha Silano, author of Blue Positive (Steel Toe Books, 2006), it was kind of a combination of these events.

In my interview with Julianna Baggott, Martha Silano was mentioned as a new poet she took a shining to. I started to check out Martha's work, but then I got sidetracked on some other projects. Next thing I know, Martha is introducing herself and mentioning that Julianna sent her in the direction of my blog--and would I be interested in interviewing her? Anyway, one thing led to another, and wow! Silano is a great new (to me, at least) poet.

There are many excellent poems in Silano's Blue Positive collection, but the one that really grabs me is the following:

Harborview

By the roots of my hair some god got hold of me
--Sylvia Plath

By the roots of my hair, by the reinforced elastic
of my floral Bravado bra, by the fraying strands

of my blue-checked briefs, some god's gotten hold of me,
some god's squeezed hard the spit-up rag of my soul, rung me

like the little girl who rang our doorbell on Halloween, took
our M&Ms is your baby okay? Why did they take him away?

Some god's got me thinking my milk's poison, unfit
for a hungry child, some god's got me pacing,

set me flying like the black felt bats dangling
in the hall, some god so that now I can't trust my best friend's

healing hands, the Phad Thai she's spooning beside the rice (ditto
to the meds the doctors say will help me sleep) Poison poison!

as if the god who's got hold of me doesn't want me
well, doesn't want my rapid-fire brain to slow,

wants this ride for as long as it lasts, wants to take it
to its over-Niagara-in-a-barrel end, which is where

this god is taking me, one rung at a time, one ambulance,
one EMT strapping me in, throwing me off this earth,

cuz I've not only killed my son but a heap of others too.
Some god's got me by my shiny golden locks, by my milk-

leaking breasts, got me in this hospital, wisps like white scarves
circling my head, wisps the voices of men back to bed you whore!

Some god till I'm believing I've been shot, guts dribbling out,
till I'm sure I've ridden all over town in a spaceship, sure

I'm dead, a ghost, a smoldering corpse, though not before I'm holding up
a shaking wall, urging the others to help me (a plane about to land

on our heads), though soon enough thrown down by two night nurses,
strapped to a bed, though for weeks the flowers my in-laws sent

charred at the tips (having been to hell and back), clang of pots,
hissing shower, the two blue pills my roommate left in the sink,

all signals of doom, though some god got hold of me,
shook and shook me long and hard, she also brought me back.

And with that, let's get into the interview.

What are you currently up to?

I'm working on a book of poems--it's almost finished, I hope--tentatively titled The Little Office of the Immaculate Conception. It's about this mother who gets knocked up, considers fleeing, fights with her husband, almost gets a divorce, has the baby, gets seriously depressed, and continuously (alternately) screams at and revels in/adores her two children. Betcha can't wait to read it!

I've also recently begun a series of poems (I would like it to be a chapbook) about body parts. And I'm working on another full-length collection about space aliens, extra-terrestrials, Galileo, ants, space junk, the universe, and related subjects--but this one probably won't really get going till my youngest starts kindergarten, when I plan to apply to every writer's colony in the country.

I recently read in an interview that you had to suffer through postpartum psychosis to write your collection Blue Positive. Could you elaborate on that experience? For instance, I'm interested in how it affected your daily life and whether you were still able to write, etc., as you went through postpartum. Also, I'm wondering how it was initially detected.

Oh gosh, that's a big question. Thanks for being bold enough to ask it. I've encapsulated what happened during those first six months of my son's life in two essays; one appears in the April ’08 issue of Redbook, the other in Poets on Prozac: Mental Illness and the Creative Process, just out from Hopkins U. Press.

Let's just say my daily life was quite different. I don't remember much about the first week at all; I was actively psychotic--hallucinations, delusions, the whole kit and kaboodle. I mean, I thought I was in cahoots with the Unibomber. When the drugs put a stop to the active psychosis, I was left with paranoia, extreme insecurity, acute anxiety, agoraphobia, and severe depression. "Writing" consisted of scribbling down a few notes about the guy down the hallway who was out to get me. When I got home from the hospital I was still in pretty bad shape--afraid to venture down to the basement, take my son on a walk. I was also prone to gut-wrenching panic attacks. Worst of all, I'd forgotten how to laugh. I remember going to see the movie Best in Show, and not being able to figure out what was so funny (I saw it a year later and laughed my ass off).

As far as the detection issue, that was pretty much a comedy of errors. After my first panic attack (ahem, slip into psychosis), I was diagnosed with sleep deprivation and given a prescription for tranquilizers, which I never took because, of course, the doctors were trying to poison me. The next time I got hauled into Behavioral Health they finally began calling what I had postpartum depression (semi-true) and put me on antidepressants, the worst thing you can give to someone who's manic. Three cheers for modern medicine! The Paxil actually sped up the process from mania into full-blown psychosis, landing me in the ER that much faster.  

More doctors and nurses are beginning to understand there's a connection between the postpartum period and bipolar disorder, but in the year 2000, at Harborview Medical Center, in the very progressive city of Seattle, I was treated like a "crazy person," not a new mom suffering from PPP. For instance, I got a wicked urinary tract infection because my hoo-ha was still bleeding and they didn't remind me to take my requisite daily sitz baths.

The collection Blue Positive seems to me to be a collection celebrating life--it covers topics such as sex, pregnancy, motherhood, and food. How did you go about assembling the poems that would go into this collection?

I hadn't thought of Blue Positive as a particularly celebratory book, but—psychosis be damned!—it's quite a mirthful romp, isn't it?

The oldest poem is "Salvaging Must Lead to Salvation"--an I-want-to-get-married piece I began in 1998. For months I was writing these pathetic (very ordinary) little square-shaped poems that were going nowhere, and then it was like the levee broke and this voice came out--not quite "me," more this potty-mouthed gal who both thoroughly adores and completely despises this man she's going to end up marrying. I knew this poem didn't fit with the manuscript I was sending out at the time (What the Truth Tastes Like), so I guess it's when I knew I had another book in me—always a relief.

Then I got hitched, knocked up, and wrote all the preggy poems ("Getting Kicked by a Fetus," "What they Don't Tell You About the Ninth Month," etc.). Then I thought the book was done (2000), and sent it out to a dozen or more places the week before I went into labor with my son. What a joke! When I "came to" after my 6-month trip through crazy-land, I realized, duh, I had actually only written a 1/4 of a book--okay, 1/2 at best. So I kept writing, and of course all the poems were now about being a mother--"While He Naps," "Explaining Current Events to a One-Year Old," "His Favorite Color is Green," etc. Urged by a friend, I sent a revised version off to the National Poetry Series; it was chosen as a finalist.

Once I knew I'd even slightly enticed a neutral reader (i.e., not my mom or sister), I kept adding, cutting, and shaping. It took two more years to (1) write the title poem; (2) figure out that I needed to begin the book with my own childhood, then move chronologically through adolescence, courtship, marriage, pregnancy, and the birth of our son; and (3) be awarded an 8-month writing residency in the wilds of southern Oregon’s Rogue River canyon, so I could get knocked up again and write the thirteen poems that close the book. And that's how it finally got finished.

Motherhood factors into a lot of your poems. How do you work in time to write around being a mother and teaching? Do you have a writing routine--or just write when you can?

Oh, goodness, I envy those people who can write whenever they want. But actually I was always poor with time management. I like rearranging junk drawers, pouring over old photos, gabbing, etc. So it's actually turned out that I write more now than ever. But okay, here's a little secret: self-imposed writing retreats. I've done three in the last year. The first two were paid for by a grant (thank you, Washington State Artist Trust), but the most recent one cost me less than $100--two nights in a friend of a friend's beachfront studio. It didn't have a stove or a bed (I slept on the floor), but hell if I cared.

Otherwise, I write when I can: on the kitchen floor while my 3 year old plays with her dinosaurs, at the dentist's office, in traffic (yes, in a moving car), at the beach, on airplanes and on fishing docks, during snack time, while they're sleeping; in between all the rest. 

How do you decide where to submit? Do you have a particular process for deciding where to submit and when your poems are ready to go out?

1. Under most circumstances I don't send to a place unless I’ve read a back issue/perused their online offerings or am a subscriber.
2. I've gotta mostly completely love the poems, the fiction, the art work, the layout, the whole shebang, or no thanks.
3. I avoid submitting to mags where I don't have a prayer (I'm not talking long shots, I'm talking completely different aesthetic).
4. When a poem is getting close to feeling finished, I email it to a poet/editor friend or two, just to make sure I'm not about to make a total fool of myself. If I skip this step, and sometimes I do, it feels risky, sorta cocky--I mean, how the hell do I know? I've sent things out too early--who hasn't?--but mostly I try to sit on my hands as long as I can, even if it feels like a poem is finished. I can't always wait a year, but usually a month or two at the very minimum allows me to find all the stupid little mistakes, OR to realize the poem is actually a piece of sh*t. 

I've enjoyed reading your Blue Positive blog where you deal in equal parts personal and poetic. What are your thoughts on blogging in relation to your writing? Would you recommend blogging to other poets?

I can't say I recommend blogging, though it IS a blast. It might be keeping me away from the real writing, but so far it hasn't interfered much. I like writing about magazines and writers I'm stoked about, asking questions, sharing personal stuff that's not quite poem-worthy, keeping my prose muscles toned. I really haven't thought about whether it's beneficial to my writing in any way; it's just stuff I would have told a friend or written in my journal, so why not put it out there? It reminds me a little of being a DJ at a tiny college radio station in Iowa. I would say these outlandish things, make little jokes, purposely mess up the PSAs--probably only a few cows were listening, but that was half the fun of it.

Could you name a couple poets you're currently enjoying? And why you're enjoying them?

The hard part is keeping it down to a couple. Here’s five:

1. Heidi Lynn Staples—wacky, wild, mind-blowing leaps;
2. Matthea Harvey—startling line breaks and imagery, lots of surprises;
3. Jenny Browne—I love how her poems are both grounded and surreal;
4. Sandra Beasley—oh man, has she ever changed how I see the world, but especially cherry tomatoes;
5. Lee Upton—her music is sump.tu.ous. Here’s a gal who knows how to edit down to the bone.

As mentioned earlier, you teach English at two community colleges. Do you feel teaching has helped or hindered your writing?

My students bring satchels and satchels of enthusiasm, excitement, and adrenaline into my life--our conversations wind me up and set me spinning. I love holding back on what I think and instead asking more questions. I love how they talk to each other, teach each other, teach me. Without them, would I still be writing?  I grow old; they stay young. I grow set in my ways; they kick me in the pants. It's an incredible honor to teach, a calling, really. If I didn't love it, if it didn't feed my creativity, I wouldn't do it. So, the short answer: helped.

If you could impart only one piece of advice to other poets, what would it be?

1. Ignore all oracles.
2. Don’t be too cocky or too humble.
3. Figure out the poems you were given to write, and get to it. 
4. When an established writer gives you the critique you begged for, listen carefully and do your best to keep mum.

*****

To find out more about Martha Silano, check out her website at http://www.marthasilano.com/.

The site includes poems from her collections Blue Positive and What the Truth Tastes Like (Nightshade Press, 1999), as well as ordering information.

*****

If you're a poet or publisher interested in setting up an interview (or just a poetry lover, who wants to make a recommendation), then check out my Call for Poets. It worked for Martha Silano, and it could work for you.

One of the things I value about this blog is the community that's built up around it. As a result, my posts are often just a springboard to more helpful information and poetic discussion. So, when it seems appropriate, I'm going to collect comments that readers have made to posts that could benefit the whole group.

Enjoy!

*****

From Laughing with or at?: The simple joy of parody poems

So the rest of you won't have to work as hard as I did to find the poem We Real White, try the URL below.It goes directly to the poem rather than to the poet list. The poet was Matthais Peterson Brandt.

http://japicx.com/coereview/backissues/cr_35.pdf#Page=30

Now, this would be a great pre-Wednesday prompt, giving us time to figure out how to do one of these ourselves. Maybe you could do a two-for-one Wednesday if you had another idea in mind

I had always considered a parody as making fun of something, but this is simply writing a poem using the original as a template. Thanks for the idea, your poem, and the reference to the We Real White poem. It is fun.

Sheryl Kay Oder |SkoderAT NOSPAMaol dot com

(P.S. I found another great parody poem this weekend from a back issue of Rattle called “T.S. Eliot’s Lost Hip Hop Poem,” by Jeremy Richards.)

*****

From Poetry FAQs: Making Your Mark

I would add, keep the poems you write organized and accessible in some way.

Like you, Robert, I wrote poetry for years before really attempting to publish it. Alas, I was not organized about it, wrote it into various notebooks, etc.

Finally, I wrote one I wanted to keep, so being a person involved with more than one computer, I looked around for a way to make them accessible to all of them and ended up putting them up first in yahoo briefcase and later in google documents.

With google documents, I can go back and see (and retrieve, if I need to) prior revisions. I can go back easily and revise old poems. They are handy to submit.

Having my poems organized and accessible was a real turning point for me. I think it was about a year or two after I started keeping track of them that I was reading an ezine and noticed that I had a poem that fit into the parameters for their current contest. It was a finalist, and this finally got me off my ass, joined a critique group, started reading and writing more poetry, submitting, etc.

Margaret |infoAT NOSPAMmargaretfieland dot com

Start your own critique group. That's what I did and we've been going about a month now. I emailed a few people from the challenge asking if they would be interested. We got the guidelines from Alessa Leming's critique group. Unfortunately, I don't have the website information handy. Alessa, if you're out there, please help this person!!!

Basically, for a small group, one person submits material each week on Sunday, the others send helpful comments by Wednesday, the person revises and sends to others by Sunday. A new week begins, a new person submits material, and it starts all over again. I had never been in a critique group before, let alone online, but I can tell you it is really worth it. Post a notice in the forum for people who are interested and give it a try.

Good luck.

Linda H. |LNSHOFKEAT NOSPAMyahoo dot com

To riff on Margaret's excellent comments re: organization:

I always write by hand - but then I key all work in and edit on my Mac. I have a folder on my desktop: Amy Writings.

Within that, there are folders: Prose, Poetry, The Book (don't get me started on that behemoth).

Within Poetry, there are some folders:

Poems

How to Get Stuff Published

Submissions

Rejections - Building Blocks

Sites to Avoid

Good Sites

You can easily copy a file into a folder and move it around. I always retitle when submitting, for ex: "A Cup Of Coffee," Pedestal 6-08

Can't you tell I used to be an admin. asst.? ha ha good night and good luck, Peace,

Amy Barlow Liberatore |poetmomskasAT NOSPAMrochester dot rr dot com

*****

From Self-publishing and slamming: an interview with poet Bill Abbott

I'm sure there's a slam in Buffalo. Try the slam finder at:

http://www.poetryslam.com/index.php?option=com_sobi2&Itemid=75

The founder of slam, Marc Smith, named it that as a connection to baseball, where a grand slam is a huge success.

Good luck with the 60-day challenge.

Bill Abbott |slamguyAT NOSPAMwoh dot rr dot com

Here's a link to a piece on a supposedly shady poetry contest: "Shady poetry contest gets religion," by Bill Chapin from mlive.com

*****

Here's an experience of my own from way back in high school:

http://blog.writersdigest.com/poeticasides/Im+Coming+Out+Of+The+Closet.aspx

*****

If you're not sure what a shady poetry contest might be, please read both pieces and educate yourself. :)

After more than 12 years of writing, I finally felt confident enough to start submitting my poetry around for publication in January of 2006. Since then, I've had around 20 poems published in print and online journals--quickly growing more as both a writer and a submitter of poems.

Writing the poems is the natural part of submitting. I love writing poems, and I've been teaching myself to be harder and harder on what is ready for submission and what is not. But the less natural, though technically easier, part is preparing the submission.

First off, you should always follow the submission guidelines of the journal or magazine to the T. If a publication states they only accept submissions by traditional mail, then only submit by traditional mail. If an editor says no attachments on email submissions, then don't think you will be the one exception that doesn't get deleted without being read.

Secondly, there is the cover letter. It used to intimidate me to no end. I felt I needed to crazy creative, impressive, and fun to be around--all in one brieft letter that accompanied my poems. Actually, all the cover letter really does is prep the editor for the submission. Cover letters do not get poems accepted, but they can get them rejected by knocking an editor off balance before reading them.

So I thought I'd share samples of my cover letters for the poets who don't have much experience with them. Feel free to take what I've written and personalize it with your own information. Over time, as with writing poems, you will find that you develop your own style and voice with these simple little letters.

Traditional Mail Cover Letter Sample

Dear Poetry Editor.

Please consider the enclosed poems--"Watching the Ice Melt," "My Father," and "Relevant"--for possible inclusion in a future edition of Dayton Quarterly. After reading several sample poems online and the most recent print edition (especially work by emerging poet J. Alfred Prufrock), I feel like my work may be a fit with your publication. 

I'm the editor of Writer's Market and co-founder/sole contributor to the Poetic Asides blog at http://blog.writersdigest.com/poeticasides. My poems have been published in several print and online publications, including MEAT, Words Dance, Otoliths, and MiPOesias (Cafe Cafe Edition).

Thank you in advance for your consideration.

Robert Lee Brewer

Email Cover Letter Without Attachments

Dear Poetry Editor.

Please consider the following poems (included within the the email message as requested in your guidelines)--"Watching the Ice Melt," "My Father," and "Relevant"--for possible inclusion in a future edition of Dayton Quarterly. After reading and enjoying several poems online (especially work by emerging poet J. Alfred Prufrock), I feel like my work may be a fit with your publication. 

I'm the editor of Writer's Market and co-founder/sole contributor to the Poetic Asides blog at http://blog.writersdigest.com/poeticasides. My poems have been published in several print and online publications, including MEAT, Words Dance, Otoliths, and MiPOesias (Cafe Cafe Edition).

Thank you in advance for your consideration.

Robert Lee Brewer

Email Cover Letter With Attachment

Dear Poetry Editor.

Please consider the attached poems--"Watching the Ice Melt," "My Father," and "Relevant"--for possible inclusion in a future edition of Dayton Quarterly. After reading and enjoying several poems online (especially work by emerging poet J. Alfred Prufrock), I feel like my work may be a fit with your publication. 

I'm the editor of Writer's Market and co-founder/sole contributor to the Poetic Asides blog at http://blog.writersdigest.com/poeticasides. My poems have been published in several print and online publications, including MEAT, Words Dance, Otoliths, and MiPOesias (Cafe Cafe Edition).

Thank you in advance for your consideration.

Robert Lee Brewer

*****

As you can see the basic language does not need to change drastically from one cover letter to the next. However, you do want to make sure you actually study each publication before submitting. It takes hard work, but just blasting out submissions without no thought is a waste of time, paper and postage (or digital space if you're submitting online).

More publications are beginning to accept submissions only through online submission forms. The same rules of cover letter writing apply with these as well. And don't worry about your bio paragraph: Just keep it honest and not overly long. For instance, I could've just as easily used this as my bio paragraph when I was in college:

I'm a full-time student and part-time ice cream scooper with a passion for reading poetry. Currently, my favorite poets are Bob Hicok, J.D. McClatchy, and Louise Gluck, though I'm also fond of Dr. Seuss.

Bios matter most to the poets who write them. Editors care about the poems. So just remember that when writing your cover letters, and you'll be A-OK.

Beginning May 12, the United States post office is changing its rates (after doing so less than a year ago). First-Class Mail stamps will increase from 41 to 42 cents; however, those who have the Forever stamps can still use them--a savings of one penny per letter (or bill). I'm glad, because I've still got like 30+ of those Forever stamps, and it will probably take me forever to get rid of them, since I'm totally slacking on the submission front.

Anyway, the USPS increased its stock of Forever stamps expecting the demand to grow with the upcoming rate increase--so if you want to save a dollar for a roll of 100 or 20 cents for a pack of 20, go get 'em now before they run out of stock.

To read about the other rate changes that will go into effect starting May 12, go to http://www.usps.com/prices/welcome.htm?from=bannercommunications&page=prices.

Like so many good poets, Kevin Pilkington also teaches writing--in his case, he's a member of the writing faculty at Sarah Lawrence College and teaches a workshop in the graduate department at Manhattanville College. But he doesn't consider teaching a means to an end. "I feel fortunate that I have always enjoyed teaching," says Pilkington. "It's something I do and not just something else I do besides write. I've been teaching writing workshops for most of my adult life and haven't lost my enthusiasm for being in a classroom."

After interviewing him, it's easy to see Pilkington's not just trying to say the right things. His writing informs his teaching, and his teaching informs his writing. And to great effect--he's the author of five collections, including Spare Change, the La Jolla Poets Press National Book Award winner, and Ready to Eat the Sky (River City Publishing), a finalist for an Independent Publishers Book Award. A new chapbook, St. Andrew's Head, was published by Camber Press. Over the years, he's been nominated for four Pushcarts and has appeared in Verse Daily. His poems and reviews have appeared in numerous magazines, including Poetry, Ploughshares, Iowa Review, Boston Review, Yankee, Hayden's Ferry, etc.

As you might expect from a successful poet and teacher, Pilkington has a lot of great information to share in the following interview.

You mentioned in a previous interview that teaching influences your writing. Can you elaborate on this some?

Over the years, I have sharpened my critical eye and ear so I can guide young poets through their poems and help them navigate towards what is working and away from what is not. So teaching heightened my critical reading skills, helping me install what Hemingway called “a built-in shit detector” for editing my own poetry.

Also, any writing teacher will tell you the importance of reading if you want your poetry to prosper. Reading and writing go together like religion and church: One needs the other to survive. So reading the great poets from the past as well as more contemporary established poets is a major aspect of my workshops. I’ve always believed the best teachers are on the bookshelves. That is how I learned to write my own poetry since I never took a writing class on the undergraduate or graduate levels or had a mentor.

If you teach great literature and are surrounded by great models, it seeps into your own writing as if by osmosis. By its very nature, great literature makes you want to go home to your desk and write. A few years back, thinking I was suffering from writer’s block, I became reacquainted with Coleridge's “Dejection: An Ode” where one of the themes is not being able to write. It’s brilliant and shot holes in my writer’s block theory; I haven’t suffered from it since.

There have also been images and lines in many poems by talented students that have, to use Richard Hugo’s term, “triggered” ideas that pushed me to begin new poems. So I am quite fortunate to be working in such a creative, fertile environment. On the practical side, there is no heavy lifting.

Because of the academic setting, do you feel you get a good opportunity to network with other poets?

I know this is a personal response to the word “network” but it has always possessed a negative connotation when it applies to writers and especially poets. There are poets who network, meaning that they attend every literary social event and make sure to get to know the individual who may be an asset in furthering that particular poet’s career. And the stakes are high for them since they are in dire need of another grant, job, or book publication. In Manhattan, these types of events take place almost on a weekly basis. There seems to be an air of artificiality and desperation at such functions. I have never understood what any of that has to do with the real work at hand which is working laboriously over one’s poems. I’d like to believe if the work is good, the rewards (notice I didn’t say awards) will follow.

However, if network conotates friendships, then it applies. At Sarah Lawrence College, where I have taught since 1991, I have met some wonderful people and formed lasting friendships. Some are poets and some are not. I have formed strong bonds with many of the poets and writers here on the regular faculty. These friendships have formed organically like most friendships and as a rule, I have a great deal of respect for their work.

For a small college, we have a large undergraduate writing program and a well-respected graduate program. During any given week, readings are taking place on campus along with an annual poetry festival. So there are many poets coming to read or teaching workshops. It is wonderful to be a part of such a bustling, creative community.

During the past few years, I have taught a workshop in the Master’s of Writing program at Manhattanville College. Aside from teaching, I’ve brought poets and writers to participate in their reading series. Some I know personally or just respect their work. It, too, is a wonderful creative environment. Obviously, I would much rather be a part of these programs that love and work with language rather than work on the roofs like my father did.

Because of these affiliations and friendships, some readings and conference work have come my way over the years. I’d like to think that anything I’ve achieved or have yet to achieve is through my poetry and teaching reputation and not by trying to make friends with some literary honchos or by hanging out near the cheese dip at the last book party.

You are a well-published poet in well-known journals. When do you know you have enough material for a poetry submission? Why do you choose to submit to one publication over another? Do you have any type of submission tracking process?

When the poems begin to pile up, I’ll go through them to decide which ones are ready to make their way into the world; make some final adjustments after months and sometimes years of rewrites; and then decide which journal may welcome them. I make it a point never to send to a magazine I haven’t read. For instance, there is no point sending any of my work to a magazine that only publishes haiku since I don’t write them. It’s a waste of my time and the editor’s as well.

In the beginning of my writing career, I sent to journals with wide circulations and were well known, at least to poets. Then after reading them I realized the poetry they published was rather bland even if written by a well known poet. One journal that I would like to appear in because if its longevity and since it appears on most newsstands, I decided early on I would only submit to when they started publishing poems that were engaging, energized and took risks. Needless to say, I still can’t send them my work.

I learned that it is the quality of the work a journal publishes and not the quantity of its readership. I publish in some magazines with very small readerships because of the high caliber of the poems they publish. It’s easy to discover journals that publish fine poems by poets who might not have name recognition--the editors are after quality and that alone. Of course, many journals mix it up publishing good poems with not so good poems. To be fair, most editors are subjective in their tastes. What I am trying to say is I look for journals that might go for my kind of stuff, no matter how large or small its readership may be.

I can remember when I first started sending work out, I wanted to publish in Poetry. I figured all the great poets of the twentieth century, my heroes, had at one time appeared in its pages. More importantly, John Frederick Nims was the editor at the time, a poet I greatly admired and respected. So when he took five of my poems, published them in two issues and ran my name on the cover, I don’t think my feet touched the ground for months. To this day, I am thrilled those poems appeared there and more importantly were chosen by Nims.

My tracking process hasn’t changed. I write down the poems I send out, who I sent them to and the date I sent them. If a poem is taken, I put a check next to the name and if it isn’t, a line goes through it.

In an interview you mentioned that poets are lucky to not be football players or ballerinas since they tend to be "washed up" at an early age. Can you elaborate a little on this concept of how poets can mature over time? Do you think poets' skills increase or decrease with age?

“Washed up” does sound a bit harsh but what I meant to say was when an athlete or dancer has to consider retirement in their early 30s, a writer is just beginning to come into his own and excel creatively. We are lucky there are no age limits. In fact, the more one lives and experiences the joys and sorrows of everyday life the more there is to write about. The longer a poet lives, reads and writes, as is the case for many older poets, you can see how their style matures and is enriched from book to book. That is how it often works and sometimes it doesn’t for even our most highly esteemed poets. I believe there is a basic reason why some of their skills decrease.

A case in point is Robert Lowell, who in the last decade of his life published six very weak collections. This was after publishing three brilliant books early in his career. Then publishers and the rest of the literary world wanted more, as they certainly did from Lowell, so he like some others in his position stepped up the quantity of poems he published as the quality diminished. It’s the law of supply and demand--something suffers and usually it’s quality. It’s not so much a decrease of poetic gifts, it’s more rushing into print that is at fault. After all, America is a fast food society. This could also be said of John Berryman who rushed too many extra dream songs into print. It’s not necessarily a loss of poetic skills, like so many critics claim; it’s fame, what Milton calls, “the last infirmity of noble minds.”

There are poets who stuck to their guns and did not step up productivity and publish inferior work, such as Bishop, Stevens and Williams to name a few. Frost was another who didn’t rush anything into print ever; he wanted his poems to be like a “burr under a saddle” and stick around for awhile. Perhaps that is why it took him a decade before a new collection of his poems would appear. He wrote slowly with precision along with all the other gifts the greats possess. He had a long life and no one accused him of any decrease of his poetic gifts.

I'm reminded of a poem by James Cummins in which he chants "What do we want? Immortality. When do we want it? Now." Do you feel younger poets should learn patience with their poetic goals and ambition? Or do you think they should always feed off that passion and desire to write great?

That is a fun quote. Cummins must attend a lot of sporting events. When talking about “poetic goals and ambition” for the younger poet, hopefully it pertains to language and writing the best possible poems they can. In “Ars Poetica,” Horace says that when a poet finishes a poem don’t publish it for at least 10 years, continue working on it so after a decade it should be ready to go out into the world. Great advice! Who am I to argue with Horace. Pope says in “An Essay on Criticism” 1,700 years later that poets should hold onto their poems for five years. He cut the waiting time in half. The point is as Frost says “to make your poems better.” However, many younger poets rush through their poems then rush them into publication. It stands to reason that first books by poets in their twenties and early thirties who are right out of grad school read like collections of first and second drafts.

As I said earlier, if work by a poet of Lowell’s stature suffers because he rushed his last poems into print, how could a young poet who rushes poems into print expect them to last in the classical sense, meaning to stay around for at least one hundred years. Of course, I don’t expect young poets to hold on to their poems and keep revising for five or ten years. I do however urge them to keep revising even if they think a poem is done. Their “poetic goals and ambitions” should be focused on paying homage to language and making their writing better. Many do realize that this is no easy task, nor should it be. I keep reminding them of Williams’ declaration, “Erase while you have the time, one word can change the world.” I take his pronouncement literally.

But if you mean “goals and ambitions” that pertain to jobs, awards and grants, that is something else. It’s politics and that has nothing to do with writing. Their ambition should be focused on the integrity of the poems they are writing and take to heart what Keats said about his ambition: “I would sooner fail than not be among the greatest.”  

In teaching, are there certain points you try to emphasize to your students? If so, what are they?

There are many points I emphasize in class but first and foremost is lucidity. I want them to write clearly--I believe clarity is a virtue. That is not to say that there should not be complexity to their poems; complexity should rise to the surface after each reading. So if they are writing about a car, I want to know that. A reader should be able to get their footing and know where they are before moving around in the poem.

The Romantics made sure of that. They wanted their readers to know in no uncertain terms exactly where they were in the beginning of the poem. Closer to home, James Wright is another. He made sure his reader knew exactly where they were. There shouldn’t be any secrecy--how can you get anywhere if you don’t know where you are?

Also many younger poets feel obscurity and difficulty imply value. It doesn’t, it implies obscurity. It is much braver to write clearly since you are directly engaging your reader. You are saying, "This is what I think, now you can respond." It’s much easier to write obscure poetry because you are hiding behind a wall of abstraction. I tell students it is an act of cowardice if a poet does not convey to their reader what they think or feel. The obscure poet engages no one. Primo Levy said that writing obscurely is showing your reader you don’t care what they think. So if you don’t care about lucid communication then you are just being rude.

Young poets should listen to Pound who told us that we should go in fear of abstraction, or something like that. I ask them to avoid clichés since they are dead forms of expression that are readily available to the tongue. They are devoid of emotion. In a sense they are forms of denial; they avoid real feeling. I stress writing as rewriting and any strength becomes a weakness if it is overdone. And there are many other elements that pertain to what is found in the architecture of a poem such as: the importance of titles, rhythm, tone, the effectiveness of subtle rhyme and line breaks.

I've noticed in your poems that you often have a keen sense of location and an interesting way of sliding in interesting images. Also, I agree with a comment made by Thomas Lux about your poetry that your "speaker is always open and vulnerable." When writing your poems, do you notice that you try to do certain things, or achieve certain effects?

Landscape has figured prominently in most of my poetry. I was always taken by poets and writers who capture a strong sense of place in their work. I enjoyed reading about Lowell’s Boston, Wright’s Ohio, Levine’s Detroit, Hugo and Stafford’s West, Joyce’s Dublin. I am intrigued how they connect not just physically but emotionally and spiritually to their surroundings. In the case of poets, it’s more the spiritual and emotional connections, since the physical is subject to change, that engages my interest. In Hugo’s “Degrees of Grey in Phillipsburg” the decaying town is bonded to the speaker’s mental and spiritual state. The work of those writers had and continues to have a strong influence on my writing.

Because I live in Manhattan, many of my poems are urban in setting, but I’ve traveled some and know if I connect with a landscape it’s going to find its way into my writing. So the speaker in my poems and the physical landscape are connected in the metaphysical sense--one is a reflection of the other. I love metaphoric language and I’m pleased you find my images interesting. I agree with Shelly who suggests new metaphors create new thoughts and thus revitalize language. So I try to capture an image the way a photo or painting does, then put a slightly different spin on it that only language can bring. Hopefully many of my images could never be totally duplicated by the camera or paintbrush.

I was pleased Tom Lux found my speakers “always open and vulnerable.” They are certainly not the all-knowing speakers found in some poetry but men who take on what the world offers them for good or not so good. My speakers might be down on their luck but are always looking for ways of turning things around. Some lost jobs and are looking for another no matter how menial. Still others have lost at love though are willing to try it again even if they were scorched by it in the past. They are all flawed but more importantly willing to take risks, do whatever it takes to survive. And risk in art is a necessity as well.

What is the best book you've read in the past year and why?

A memoir by Albert Harper entitled Good-Bye, Union Square (Quadrangle Books, 1970). He’s a writer who seems to be forgotten unfortunately. He covers the entire decade as a young writer in the 1930s living in and around Union Square, New York City. I always enjoy reading about the city I live in and this is the closest I can get to a time machine to experience when a $3 Italian dinner in Greenwich Village was extremely expensive. I also enjoyed his take on the young writers he met including Richard Wright, Bertolt Brecht and Langston Hughes. I found the book in a used bookstore, and it has been out of print for years. I also enjoyed his clear, concise prose style--sentences that are so unadorned that if you picked one up you could almost see through it.

*****

If you're interested in reading Kevin Pilkington's work, here are some poems available online:

* "Promises" from the Valparaiso Poetry Review

* 4 Poems from the Boston Review

* "Travel" from Verse Daily and Green Mountains Review

*****

Also, if you wish to read another interview with Pilkington, here's one done a few years back by Linda Simone for the Valparaiso Poetry Review: http://www.valpo.edu/english/vpr/pilkingtoninterview.html.

*****

If you're a publisher or poet interested in being interviewed in a future post on Poetic Asides, go here to get more information.

*****

Check out other Poet Interviews here.

Cover the windows! Dim the lights! But not too much, because you need to get writing today and into the night (late, late, late at night). After all, today is an extra day that you only get once every four years. If you don't write today, you won't be able to write on February 29 again until 2012.

2012!

Seriously, can you really live without writing for 4 years?

Of course you can't!

This is an extra day--24 hours that shouldn't even exist. Make sure you take advantage of this little gift, this little extra bit of February.

*****

Here's a challenge. Why not try writing a leap year poem? Either write your poem into the comments below, or send to my email (robert.brewer@fwpubs.com). If I get one or two that knock my socks off, I'll feature them (and the poets who wrote them) in a future post. Plus, I'll get working on one myself.

As I’ve mentioned on this blog previously, I have a Facebook account under my full name (Robert Lee Brewer). And as I’ve mentioned previously, I’m all about playing online Scrabble at that account as well. And one of my more consistent opponents is none other than poet Dorianne Laux, who’s authored several collections of poetry and co-authored an instructional text (mentioned below) with Kim Addonizio.

Dorianne will be the first of what I hope will be many poet interviews conducted for this blog. I will categorize all these interviews under the totally misleading title “Poet Interviews.” ;)

So, let’s get started!

What are you currently up to? Any thing new coming up in the near future?

When I’m not playing Scrabble with you on Facebook, I’m packing to move to North Carolina where I’ve accepted a job at NC State.  We’re also trying to sell our modest little Cape Cod style house in Eugene so we can buy a modest little Cape Cod style house in Raleigh.  In the midst of all this I’m still teaching at UO (Oregon) until the end of the winter term and at the Pacific University Low Residency Program, so, there’s little time for new projects.  I am lucky in that I have two new books out. 

My first book, Awake, was reprinted in January by Eastern Washington University Press.  They did a beautiful job and I like knowing it will have a second life.  http://www.ewu.edu/ewupress/poetry/awake.htm 

And Red Dragonfly Press just put out Superman: The Chapbook, a gorgeous letterpress edition that contains six new poems.   http://www.reddragonflypress.org/

I have a jumble of new work I can’t wait to get to and revise.  This summer my husband and I are going to spend 5 fabulous weeks in May at VCCA, The Virginia Center for the Creative Arts, where we hope to write new poems, the Muse willing. I’m going to be culling and reviewing the last few years of poems and see if I can’t cobble together a working manuscript.  

Joe and I will both be teaching a workshop this August at Truro Center for the Arts near Provincetown.  It’s a beautiful spot and there are a bunch of wonderful classes and teachers there including Mark Doty and Paul Lisicky, Tony Hoagland, Eleanor Lerman and Martin Espada.  http://www.castlehill.org/workshops_writing.html

I’ll also travel to Guatemala in the beginning of July where I’ll join Joyce Maynard and Ann Hood to teach a poetry workshop.  Joyce has a home in San Marcos on Lake Atitlan and has begun to invite a poet and a fiction writer to join her there for a mini-lit fest. I’ve never been to Guatelmala and am aching to go.   http://www.joycemaynard.com/writing-workshops/lake-atitlan.shtml 

I’m collecting tennis shoes and writing materials to give to the children.  It’s a place where paper and pencils are luxuries.  I hope to bring poems back from the 10 days there. 

Right this minute, I’m working on a series of poetry columns for Writer’s Digest, short essays with model poems and an exercise, much like what’s in The Poet’s Companion.  The first one should be out this June. 

In The Poet’s Companion, which you wrote with Kim Addonizio, you mention that poets should write what they know. Could you explain this concept a little and why you feel this way?

As I get older, I become more and more sure that I know absolutely nothing.  I thought I knew about love, about death, about motherhood, men.  I know nothing.  I can only guess how much less I’ll know 10 years from now.  But, I do know my backyard, my street, the way light bounces off a car windshield in summer, how frost glazes the roses when they are fooled into bud in February.  I don’t know who we humans are or why we’re here or where we’re going, but I want to.  I think those eternal questions continue to be asked, in spite of their mystery, because of their mystery.  I explore those questions by looking deeply into the things I do know, the visible, touchable world. So often young poets try to speak to those mysteries directly, and unless they happen to be Rilke, they more often fail.  It seems to me that the world is a pathway, a conduit, to the invisible, the unknowable, and helps us translate what we feel through the bodies we touch and that touch us. 

In a review of Facts About the Moon, Robert Pinsky singles out the poem “Little Magnolia” and points to how the tree and man in the poem can be rooted and homeless at the same time. I’m often struck by how your poems are very accessible on one level, but have a lot going on beneath the surface. Do you think poems should try to be both accessible and layered?

I love that Pinsky chose that poem.  It’s a small poem, one that could easily get lost in a book of longer, flashier poems.  It’s a quiet piece, but yes, there’s more there if you take the time, slow down, look closely.  I remember going to one of my teachers to ask about a poem I wasn’t sure I fully understood.  She said, “Slow down.”  I said, “You mean read it more slowly or slow down in my life?”  And she said, “Yes.”  Any good poem is asking you simply to slow down and, as Stanley Kunitz said so beautifully, to live in the layers. Do you know that poem?  The final lines are:

In my darkest night,

when the moon was covered

and I roamed through wreckage,

a nimbus-clouded voice

directed me:

"Live in the layers,

not on the litter."

Though I lack the art

to decipher it,

no doubt the next chapter

in my book of transformations

is already written.

I am not done with my changes.

“Though I lack the art to decipher it.” That’s an important line.  He’s not sure what it all means, but he trusts the voice speaking to him.  I don’t think we can bend a poem to our will, or that layers can be consciously engineered.  Poems that try to do this usually come off as tedious and self-conscious, overwrought, but we can be fully present while writing it and hope that the complexities fold themselves into the words, that the passion we feel for our subject engenders a natural layering.  It’s simply not a conscious process and so it’s hard to take credit for it.  That said, yes, I want my poems to be accessed by everyone, anyone, as many as possible given the limitations of poetry. I grew up in a neighborhood of military brats, kids who didn’t give a damn if you could read the back of a cereal box let alone a book.  I think I often write to those kids, the ones I never fit in with because I wasn’t quite tough enough.  I write to the girls with ratted hair and denim skirts, the boys with butch cuts and torn T-shirts.  I want to reach them.  I also want to give them something beautiful and complex, something they can read again and again.  It’s what I want as a reader.

For me, the best poems are the poems I can read and understand.  On the other hand, if I understand everything in the first sitting, it’s merely information.  I think of a line I love from Li-Young Lee’s poem “One Heart.”  He says:  “Look at the birds, Even flying is born out of nothing.”  That’s a simple line anyone can comprehend on first reading, and yet each time you read it or say the line aloud, the more you think about it, the more it dissolves into mystery. 

Do you have any pet peeves with poetry?

The only thing I can’t abide is dishonesty.  I don’t care if you’re smart or stupid as long as you tell the truth.  That’s all I want to hear.  It’s what we all long to hear.  

You are married to poet Joseph Millar. So, I’m wondering what it’s like being married to another poet? Do you steal each other’s ideas? Do you share early drafts of poems? Did poetry play a role in bringing you together?

Oh we steal from one another all the time.  It’s impossible not to.  But then we steal from every great poet we know.  It’s all a pastiche.  We do share our drafts, though we’ve learned over the years to hold off as long as possible for fear of boring the other to tears with draft after draft.  We met in a poetry workshop.  I was teaching night classes for adults at an independent bookstore in Mill Valley.   He was a student, though it was more like a group of us who got together to share our work.  We knew each other for a couple of years before we began a relationship.  

So yes, poetry brought us together, and it has played a role in keeping us together.  We find that when we can’t agree on anything, or are pissed off at each other for one reason or another, one of us will bring up poetry.  He’ll say, “Hey, did you read that poem in APR by Tony Hoagland,” or I'll say, “Do you want to hear a new Lucia Perillo poem,” and that’s the white flag, the common ground, the fight is over and we can talk again. 

You’ve put together 4 collections up to this point (Facts About the Moon; Smoke; What We Carry; and Awake). Do you think about how collections might come together as you’re writing single poems? Or do you work solely on a poem-by-poem basis? Or is it some combination?

I simply write poems.  If I was good at the long view I’d be a novelist and make much more money and have a shot at the movies.  Not that I care so much about the movies.  I think I do, sometimes, but when I go deep, I realize that I am most happy when I’m writing a poem, or revising a poem, or putting a book of poems together.  I may be frustrated, but it’s a fruitful, soul-making frustration.  At my poetic best, I’m asking a question I have no hope of answering and making something that has little chance of being read by more than a handful of people.   And that’s fine with me.  I prefer it even. I'm at my best when I’m at my most anonymous, when I am one grain of sand hidden among the many, making my single pearl.

My books have always found their own way into being, poem by poem.  When the time comes that I have too many to keep in a binder--an irritation--I know it’s time to make a book.  I take them out and spread them on the floor to see what I have.  Each time, I’ve found a thread that holds them together.  We humans do this.  It’s in our nature to make connections.  But it’s also a frame of mind.  Each of us has a question that haunts us and we pull our poems up over and over, like buckets of water, out of that dark well. The poems may seem on the surface to be a jumble of our days, but they all spring from the same source.   

If you could share just one piece of advice with other poets, what would that be?

I once had a dream in which the poet Jack Gilbert came to me in a white room and sat down in a white chair at a white table. We made soup together and his had blueberries in it.  I asked him if he had any advice for me as a young poet and he said, “Yes.  Don’t write sissy poems.  And don’t be in collusion with your own poems.”  It’s still the best advice I ever got. 

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