Contributor Update, Martin Ott: Poetry Book Release

Congratulations to past contributor Martin Ott on the release of his third poetry collection “Lessons in Camouflage” scheduled for immediate release on June 1 at C&R Press: https://www.crpress.org/shop/camouflage/. Martin Ott’s short story “The Policy” was featured in Issue 11 of Superstition Review. We are truly happy for this past contributor!
Contributor Update

#ArtLitPhx: District 4 Presents: Melissa Dunmore

Join District 4 for a beautiful evening with local poet and artist Melissa Dunmore! Melissa Dunmore  is an Afro-Boricua was born and raised in Brooklyn, New York and transplanted to Phoenix, Arizona where she studied at Arizona State University. She is a performing artist and producer for Mujeres del Sol , a collective of women and girls in the arts. Dunmore’s bilingual poetry has been published by Mujeres de Maiz, Fem Static, and St. Sucia, as well as in a forthcoming anthology, Song of Yemaya.

Bring your friends, family and co-workers to the sweetest venue- Jarrod’s Coffee, Tea and Gallery. Pop up bookstore by Bonny Books will have hot titles and books by local poets and authors. As always, they will have a limited open mic prior to the feature. Come early to secure your spot on the sign up sheet, a beverage, and seat!

 

Authors Talk: Margaret Young

Margaret YoungToday we are glad to feature poet Margaret Young as our Authors Talk series contributor. Margaret offers thoughts on her poems, “September Diary, Dreams and Walking” and “Moving On.” She identifies her mother’s absence as well as images and ideas of nature and its non-human elements as recurring characters in both poems. Margaret concludes her talk by discussing the challenge of writing about living family so directly and inviting her father’s poetry into her own work.

Margaret’s poems appear in Issue 14 of Superstition Review.

 

#ArtLitPhx: JAZZ meets POETRY: Tribute to Gil Scott-Heron

This month’s JAZZ meets POETRY event is a Tribute to Gil Scott-Heron, and will be held at The Nash (110 E Roosevelt St, Phoenix, Arizona 85004) on April 26 from 7:00-10:00 pm.

JAZZ meets POETRY is a new series at The Nash for 2017-2018 that places poets and jazz musicians center stage to make art that is expressive, interactive and captivating.

Part theatre part concert, this performance tributes Gil Scott-Heron — considered to be “one of the most important progenitors of rap music” (AllMusic’s John Bush) — with original poetry, spoken word and musical accompaniment provided by The Nash Music by The Geibral Elisha Movement.

SPECIAL GUEST: Brooklyn, NY-based artist Tai Allen, who released a book and soundtrack project — No Jewels — in 2017. In 2010, his album “Easy Readin’” was awarded Album of the Year by the National Poetry Awards. He is a member of the National Black Writers Conference Steering Committee and has also served as the Conference’s Poetry Cafe host. Allen also is creative director for Arts+Crafts, where he curates an annual Tap+Cork Brooklyn Beer & Wine Fest, and creates performance opportunities for emerging artists, djs and poets.

Advance tickets: $15, $8 Students (25 & under with ID). At the door: $20, $10 Students (25 & under with ID).

Guest Post: William Cordeiro: Once More, with Feeling

Feel? Let the reader feel!
—Fernando Pessoa

James Merrill, Richard Wilbur, David Kalstone, and a couple others were once at Merrill’s house in Key West when they each decided to write a poem that morning. When Merrill came downstairs to show his work, Wilbur said, “Well, Jimmy, it’s very fine—very formally sound, it’s just… missing something.”

“Oh right,” Merrill said, “I forgot to put in the feelings!” He raced upstairs, and, in another hour or so, doctored his poem. He then read the new version to the delight of all.

I remembered this anecdote while down in Tucson a few weeks ago, attending the UA Poetry Center’s Bagley Wright Lecture Series. Timothy Donnelly made a comment that’s stuck with me; he claimed he was more of a “constructivist” poet, as opposed to an “expressivist” poet, meaning that he often didn’t have anything particular to say—he just liked building things, tinkering, working with the materials of his chosen medium. Constructivists, like Merrill and Donnelly, can sometimes forget to put in the feelings.

The impulse of a constructivist is to make patterns. Three rocks scattered in the woods might not seem significant, Donnelly said, but three rocks stacked in a cairn do. We observe the imposition of human consciousness. However, we don’t necessarily know what such patterns signify—turn left, straight ahead, or look out for the poison oak. Likewise, in poetry, patterns create music and architecture, arrangements which suggest mood and sensibility: penumbras inflecting and leaching out into the tone, the heft, the configuration of a poem beyond its ostensible content.

Expressivists, on the other hand, tend to have something specific to convey. Language acts as a medium of communication by means of which the author’s ideas, experience, or emotions can be transferred to the reader. An expressivist poem is thus a more chiseled version of the way we use language in everyday life. In some cases, it strives for a message, a moral, and it has designs to incite political action.

Every poet, perhaps every poem, must figure out how to reconcile these divergent motives. The results of this balancing act contribute to one’s style. Although there are limitations to this (or any) binary, Donnelly’s distinction proves useful in observing a trend and unpacking the forces behind it: American poetry is having an expressivist moment.

In the ’90s and 2000s, the pendulum swung away from the Confessional poets. New Formalists and LANGUAGE poets, New York Schoolers and Ellipticals alike could be deemed constructivists while Slam poetry, as an example of expressivist work of that era, infrequently saw the pages of literary journals. One might argue, too, that the immediacy of Slam poetry is suited for the voice and stage, rather than the drier archival pages of journals anyway.

Today’s poetry scene, with journals now mostly online and many hosting video content, values immediacy. Expressivist poems appear urgent, direct, sincere, visceral, approachable, and woke. They’re bone spurs and gut-punches, shivers and fist bumps. Constructivists poems, by contrast, will always have critics who accuse them of being empty, academic, confusing, oblique, or baroque. Constructivist poems can be ponderous, requiring interpretation and repeated readings, though a handful of constructivists have developed enough panache or sprezzatura to avoid this fate. A certain elitism prevails among constructivist poets, since their work, whether harnessing traditional modes or disrupting them, appeals to what Milton called a “fit audience… though few.” They require the reader to pick among the stones they’ve set and wander in the runes, as it were. The reader must construct and deconstruct along with them.

That said, the expressivist poem, so popular currently, faces the dangers of being obvious, too literal, a tad boring, blunt and underwritten, and ultimately little more than dressed-up journalism. Expressivists foreground the author over the work. Thus, expressivists can develop hang-ups about authenticity. An expressivist poet may fall to repeating herself, boxed in by her own voice, the work shrinking to the size of a single viewpoint instead of expanding to encompass the multiplicities of the imagination.

The trend toward expressivists might, of course, result from a political climate in which readers are spoiling for poems that give voice to their anger and disorientation, as well as greater institutional awareness and efforts to expand the variety of perspectives represented at all levels of publication. Also, poems that spill their guts might rise to the top of slush piles: blood floats on ink. Busy editors sometimes just don’t have time to re-read and interpret delicate, challenging, or more subtly structured work before casting it aside in today’s clamorous marketplace.

A counterargument to my own analysis above, however, is the state of creative nonfiction (CNF) today. CNF has been trending more constructivist lately. The heyday of the echt memoir was the 90s and early 2000s—think Mary Karr, Frank McCourt, James Frey. As opposed to straight narrative, today’s CNF is lyrical, collaged, broken, braided, collated, curated, speculative, or anagogical: it emphasizes its structure and shifting registers and embedded texts; it’s by turns hermetic and punchy, colloquial and precious, erudite and rude. Given this newfound stress on form, and the play that form affords, essays are increasingly like poems—at least, poems with a constructivist bent—and it’s no accident that many of our major essayists are bona fide poets: Maggie Nelson, Ander Monson, Anne Carson, John D’Agata, Kevin Young, Lia Purpura, Nick Flynn, and Claudia Rankine, to name just a few.

This tendentious bifurcation between “constructivists” and “expressivists” aside, as writers we should perhaps recognize that all expression must be constructed; all construction yields some expression. So, writers whose temperament is mushy might benefit from thinking how to give shape and definition to their sentiment through more attention to structures, logics, forms, and outward facts. And those, like myself, who tend to dawdle over form for form’s sake, need to circle back to ask: What am I bothering to say? Does it matter? And, importantly, am I giving my reader the feels?

Guest Post, Martha Zweig: Backwards

Poetry calisthenics: Chain words together so that the end part of one word becomes the first part of the next, ad infinitum: zippercentralalalandscapersonarrowboat… (zipper; percent; central; tralala; lalaland; landscape; caper; persona; sonar; narrow/arrow; rowboat…)

Even better is to link words and idioms of common speech such that one bleeds into the next upon contextual shifts of the words’ meaning: “…everlovin’ blue-eyed hurricane to witness God’s will leaving you for dead wrong.” Hurricanes do have blue “eyes.” Eyes witness. A last-will-&-testament needs a witness. The will leaves something to the beneficiary, but God’s will, ever contrariwise, abandons Its beneficiary, leaving her for dead, and dead wrong to boot (from my poem Invocation: Monkey Lightning, Tupelo Press, 2010).

Write your list of rhyme words first, then decide where to put them. Not today at the ends of lines. Maybe at the beginnings? Maybe in the middles? Let the placement of those rhyme words provoke and determine the rest of what you say.

Collect fifteen of your fragments many years old and never used. Put them on the table in random order. Change the order. Cut each fragment in half and repeat. Fill in the blanks until they’ve made you say something you never would have thought of in a million years—but which you will recognize.

***

For a period of fifteen years I wasn’t able to write anything. I did try. I sat on the floor and thought about subject matter: what do I love and why? Memories? Gratitudes? Consolations? Convictions? Some wisdom I might convey? Jeezalu, can’t you just describe something out the window, anything? Nope.

People ask, where do you get your ideas? What inspires you? Nope. Not a thing.

I did find some support. A local group of the then-national organization No Limits for Women Artists took me in, a writer, though all the others were visual, paintings and pottery. Meetings consisted of our glorious leader calling up each person, one by one, to an individual standing interrogation: What is your vision? (Answer.) What is your vision for the next three weeks? (Answer.) What’s the next step? (Answer.) What makes it hard? (Answer.) Then the leader guided the woman-on-the-spot along to develop a personal affirmation addressing the difficulty. (Affirm!) Next-and-last, What help do you need? Any answer OK– Nothing. Babysitting. An item to borrow. Most popular: send me a postcard of encouragement. No guarantee that anyone would do anything. But—how hard is a postcard? I loved it. Each local group ended after 6 sessions. Good, it didn’t go on long enough to turn phony.

At some point language personified itself to me: it was royally pissed, all these years I’d spent whining and hadn’t made any poems! Eff you, language. I’ve had a hard time! We circled and growled for a while. I’d offended language expecting it to conform itself to my power-point agendas of blah-blah subject matter. Meanwhile it had all these words to spill out wanting to play and do mischief, wanting to surprise me!

***

An only child, I grew up in white suburbia in the talk of a doctor father who orotunded like Shakespeare and/or the King James Bible. “Pontificating!” my mother hissed. She romped about in her own astonishing range of diction, mixing high elegance with gutter-demotic expletive sometimes in a single sentence. She dubbed the hospital where my father worked the “horse-pittle.”

Formative years of such yackity-yack? Who could ask for more? Thunderstruck still, I invoke loops of language as Higher Power flapping around out there like a pterodactyl, so indiscriminate in its associations that it may, from time to time, descend to build a nest in my hair. I woo language. I scavenge words. When I have nothing to say, I start with words. One word leads to another. They rough-and-tumble noisily, dragging me into their brawl and peeling out living bits of (who knew?) my own soul stinging and giggling.

How do I know what I think til I hear what I say?

Lugging groceries up the lengthy path to my house, I mutter to myself,  “Krakatoa; asterisk; flip…”  Bits of more or less and pinch of something else.

Authors Talk: Jonathan Duckworth

Jonathan DuckworthToday we are pleased to feature Jonathan Duckworth as our Authors Talk series contributor. In this interview by fellow writer Jaimie Eubanks, Jonathan discusses his story, “On Clear Days I Can See Your Aura.”

Jonathan tells us how he decides what a story is about and how his spontaneous writing process is guided mostly by what a story calls for. Though his approach to writing is without “method,” Jonathan finds that a short story assembles itself. He concludes the podcast by discussing the differences between writing a novel and a short story.

On Clear Days I Can See Your Aura” can be read in Issue 20 of Superstition Review.