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Showing posts with label Beth Adams. Show all posts
Showing posts with label Beth Adams. Show all posts

Wednesday, February 28, 2018

The Buddha, wondering...

Order by March 20 for a discounted price--
one for yourself, some for friends!

http://www.phoeniciapublishing.com/the-buddha-wonders.html


92 pgs, 6" x 9", paperback, 
publication date March 18, 2018
 Preorder price $13.50 US (reg $14.95)

Phoenicia Publishing (Montreal) has announced the forthcoming publication of Luisa Igloria's next book. I'm glad the news is out and, as I feel warmly toward both the publisher, Elizabeth Adams, and the poet herself, I am doing my little bit toward letting the world know.

Many of the 53 Buddha poems have appeared in initial form at Dave Bonta's Via Negativa site; the versions below are from that site. The book is her second with Phoenicia, and follows her 2014 publications, Night Willow (Phoenicia) and Ode to the Heart Smaller Than a Pencil Eraser, chosen by Mark Doty for the 2014 May Swenson Prize (Utah State University Press.)

While you're at Phoenicia (go!), sign up for the Phoenicia newsletter and take a look at the catalogue, the related art prints, and music. The publisher: "Please Sign Up  to receive news and exclusive special offers, 4-6  times per year, via email. In March, two subscribers will win a free copy of "The Buddha Wonders..." in a random drawing among our mailing list members."


The Buddha fills in job applications
Luisa A. Igloria March 28, 2014 

Almond the shape of my eyes; lotus
the width of my hips or the soft
inscrutability of a half-smile.
Virtue the act of sitting still,
going nowhere, being a stick-in-
the-mud. Or being pliable: sucking
the tummy in, filling it out with breath
or bread. Give me the bread, the bowl
of milk, honey from the hive, water
from the well, wine from the skin
that loosens all tongues and turns
every fool into a resident sage.

The Buddha listens
Luisa A. Igloria March 24, 2014

in the kitchen to a classical program
on the radio, one evening while cold rain pelts
the window before turning into pellets of ice—
And he thinks Mendelssohn’s Octet in E flat
Major, Op. 20 is the perfect soundtrack for this
moment— the violins and their upbow so quickly
spanning and gathering a range of feeling
he did not know still simmered under his skin.
Where did they come from: that flare of resentment,
that thorn of anger, the ache of loneliness
from a love he yearned for but could not have?
How is it possible to cultivate detachment
at the same time that one practices compassion?
He rinses his cup and saucer and sets them
on the rack to dry, his fingers lingering
in midair as if to trace the notes
that exit in the scherzo.

Dear Naga Buddha,
Luisa A. Igloria November 10, 2012 

how still, how still you sit
beneath the ticking of the seven-
headed tree; it’s hard to understand,
but just like ours, those tongues
have foraged along the ground
for leftovers, for milky drops
of immortality. O careless and
forgetful gods, you’ve crowned us
with accidents, spiked our appetites,
littered the way with detours
and false starts. No warnings issued
about sharp blades of grass that split
the ligaments in the mouth: and thus,
in dreams, the restless body turns
and hisses, even in brief repose.

Part for the whole
Luisa A. Igloria September 24, 2016 

For my birthday, my friend gave me
the stone head of a Buddha
brought back from her travels
to Nepal and India. My first,

she said, wrapping it in yards
of bubble wrap then hefting all
25 pounds of it into a box.
At home, I found a place for it

in one corner of the deck, next to
the patio set and green canvas umbrella.
Setting shallow terracotta pots of herbs
around it, I wondered where it once held

court: if it sat in a bamboo grove or nameless
village temple, its carved fingers curled,
touching. Its eyes don’t give anything away.
It doesn’t say what blasted the rest

of its anatomy, what saved it from complete
ruin in order for the soft bloom of green
to spread like the shadow of a milkweed
butterfly across the high cheekbones.


Luisa Igloria

Friday, February 23, 2018

bethadams.ca

Whelk by Elizabeth Adams. 12" x 10", $150


Elizabeth Adams has a newish art site with portfolio of drawings, watercolors, pastels, oils, acrylics, prints, and drawings. Still life, landscape (Iceland, Vermont, Quebec, New Zealand), and figurative work... Much of the work is for sale, and at reasonable prices. You can also check out her small, lovely publishing company, Phoenicia, and her blog journal, The Cassandra Pages.

Skorradalur, Iceland. Pastel, 63 x 21 cm, 2014.
(Private Collection, Iceland.)


Green Almonds. Watercolor, 4" x 4", 2017. $100.

Tuesday, December 05, 2017

Phoenicia Publishing holiday newsletter and sale

Beautiful December newsletter--take a look and think about supporting a fine small press founded by Beth Adams. Small publishers need your love, your encouragement, and your financial support (that's a vote in favor of continued life for a small press) to do what they are doing. One-week holiday sale. I've pilfered a copy for anyone who might not be lucky enough to find one in their email or see a share on facebook or twitter. You can also see the original via MailChimp.

GIFTS FOR EVERYONE ON YOUR LIST!

Here are a few suggestions of special books for holiday gift-giving -- or for yourself! Several are on sale for just one week, direct orders only. We also hope you'll visit our full catalogue this season, and give a gift that supports writers, artists, and independent publishing. Thank you so much for your interest and your purchases during past years!
"A nature poet in the great American tradition...and more than that."  -- Ama Bolton
Need a perfect Christmas present, for just $12.00? Dave Bonta's Ice Mountain: An Elegy, was one of three fiction/poetry finalists for the 2017 Banff Mountain Book Awards, and it's receiving glowing reviews from a wide variety of readers. On sale for the coming week, it's also a beautiful book, with illustrations any nature and art lover will enjoy -- some of which are available as original linocut prints, for a very affordable price.
Last December, I gave a copy of Thaliad to a friend. She ended up buying twelve more copies as gifts, and exclaimed over what an extraordinary work it is; she loved the overall design, the artwork by Clive Hicks-Jenkins, and most especially the story Marly Youmans tells in the form of an epic poem-novel for our time. Beautiful books with carefully wrought words and a timeless message are still sought out, because they are books that will last. Thaliad, a consistent Phoenicia bestseller, is available in both hardcover (on sale now) and paperback editions.
"Women rabbis have created poems that see God in a whole series of bold new images that we were not accustomed to seeing before." -- Rabbi Jack Riemer

"She is as young as our century and as old as Judaism." -- Gordon Atkinson
Jewish and Christian readers alike will appreciate the fresh insights and female perspective on the first five books of the Bible in acclaimed writer and rabbi Rachel Barenblat's 70 Faces: Torah Poems, Phoenicia's all-time bestselling book.
Limited Quantity! We're down to our last few copies of Annunciation, so please order early at a special sale price! This book of poetic responses by 16 interfaith and secular poets to the story of Mary has received wide acclaim for its broadly envisioned, thought-provoking words; beautiful design; and many linocut illustrations. It's a lovely and appropriate Christmas gift, and comes in an 8" x 10" softcover format. Several of the illustrations are also available as original linocut prints in our art shop.
View Full Catalogue
We'll be back in early 2018 with exciting news about Phoenicia's upcoming titles. But right now, we wish you a peaceful and joyful holiday season, and thank you once again for your support of independent publishing and the authors, artists and musicians we publish.
Elizabeth Adams, publisher

Thursday, January 19, 2017

Postscript to "Precipitous slippage"

Illumination by Clive Hicks-Jenkins
 for Thaliad
I've really enjoyed the comments here and on Facebook about my "Precipitous slippage" post--the fun including meeting a poet I like and learning a lot more about other writer friends as well. And now look at this fine news about Thaliad, along with a wonderful, hopeful message about poetry from Phoenicia Publishing editor Beth Adams. Breaking the 400-mark was an initial dream goal for me, though it's often impossible for a poetry book. Truth to tell, I wasn't sure anyone would buy a wild, post-apocalyptic, book-length adventure in blank verse! So now I'm dreaming about 500, 600, more....

Beth Adams
Just for the record, sales of Thaliad are well over 400 copies - 425, in fact - and it continues to sell; it was the best seller at Phoenicia among our pre-2016 titles last year. This says to me that formalist poetry has lasting power in our time, and also it is well worthwhile to produce such books as the most beautifully designed and illustrated editions we can while making them affordable for ordinary readers.

Just before Christmas, I gave a copy to a friend who I thought might appreciate it. She ended up buying twelve copies to give to her own friends, and exclaimed over what an extraordinary work it is; she loved the edition and the artwork by Clive Hicks-Jenkins, but what struck her the most was the story Marly Youmans has told in the form of an epic poem for our time.

In other words, beautiful books with carefully wrought words and a timeless message are still sought out by certain readers, and we need to encourage their writing and making, because they will last.

Tuesday, April 05, 2016

Phoenicia, April sale, and Elizabeth Adams

Bookplates by Elizabeth Adams

Here's a little bit about Phoenicia Publishing and the current poetry-month sale, text drawn from The Cassandra Pages, the blog site of Elizabeth Adams.
All the full-length books are on sale, including Annunciation and How Many Roads?

Bookplates and prints are also for sale in the new Store on the website. Hope you'll take a look.

You know, I feel so fortunate to be able to work with the authors and artists whose work we have published. I wish I could bring out more books each year but it's just too difficult - this is basically a one person operation, with some generous help in certain areas from my partner, and it's time-consuming and costly, while being extremely rewarding from all other points of view. I know a lot of you have supported this endeavor over the years and this is a chance to say, again, thank you - both from me and from the authors themselves.

I love what Dave Bonta wrote on Facebook when he shared the announcement: "These are all good. Some are down-right great. (I know because I have read all of them.)" That's about the most straight-forward recommendation I can imagine!
Beth Adams is a stellar publisher with many talents, including wonderful design work, a thing often missing in new books. She works hard, and I'm hoping that word of mouth is kind to her press--if you're an admirer of Phoenicia, why not write some Amazon reviews, post about the press (feel free to copy anything in this post) and its books, or simply tell people you know? And of course, the purchase of a book sends a message to the publisher that says you support the kind of work she is doing and hope she will keep adding to the sum of what's worth cherishing in the world. Being a small-scale publisher is not easy, and I am glad that Beth continues to make beautiful books.

The new Phoenicia store has the book plates above, as well as some lovely prints from the Annunciation anthology. Take a look!


Why not sign up for the newsletter?
*
And see the complete catalogue of books and music here.

April sale. Books shown are the Annunciation anthology,
poetry by Rachel Barenblat, Claudia Serea, Luisa Igloria,
Magda Kapa, and me, and Jonathan Sa'adah's
photographs from the 60's and early 70's.


You may also visit Studio Cassandra at Etsy
to find Beth's watercolors, prints, pastels, and more.

Friday, November 20, 2015

Last weekend for pre-orders, Annunciation



Annunciation
Sixteen Contemporary Poets Consider Mary


Poetry by
Ivy Alvarez,  Rachel Barenblat, Jeanne Marie Beaumont, Kristin Berkey-Abbott, Chana Bloch, Leila Chatti, Luisa A. Igloria, Mohja Kahf, Vivian Lewin, Vinicius de Moraes (Natalie d'Arbeloff, trans.), Roderick Robinson, Nic Sebastian, Claudia Serea, Purvi Shah, Rosemary Starace, and Marly Youmans

Illustrated and Edited by 
Elizabeth Adams

"A beautiful book, gift, and gesture: with 64 pgs of poems by 16 accomplished poets of different cultural / religious / secular backgrounds, and 10% of your purchase going to refugee relief!" with http://www.phoeniciapublishing.com/annunciation.html

Tuesday, January 01, 2013

Salmagundi for the New Year

LISTEN TO A CASSANDRA?

Thanks to Beth Adams (editor, publisher, writer, artist!) of The Cassandra Pages for listing a novel of mine among her favorites of 2012: "Particular standouts written by friends included Marly Youmans' evocative and poignant novel of an orphan boy-turned-hobo in the depression-era South, A Death at the White Camellia Orphanage. The whole list and discussion is worth a look.

LAST CHANCES: VAL/ORSON

Val/Orson appeared in several hardcover editions, one of which was quite limited and rather expensive. That one, the jacketed hardcover, is still in print. Originally priced at £24.99, the remaining copies are now on sale at £7.99. It was, by the by, editor John Wilson's Book of the Year at Books and Culture Magazine.

YEATS, I LOVE

Stauffer:  "Yeats believed in courage. His commitment to life was as unequivocal as it can ever be in a poet. there was no room in his living for world-weariness, and everyone has noted the miraculously increasing youth and vigor in his writings as he grew older. It is as if life for him were a heady drink, and long quaffing could only increase the frenzy and the Dionysian affirmation." The Golden Nightingale, p. 18.

"Poetry delights us as a manifestation of energy." p. 81

MISSED THE MAYAN MAYDAY MELEE?

For those craving the apocalyptic: Thaliad in all its frabjous beauty, with art by Clive Hicks-Jenkins and design by Beth Adams. Paperback and limited edition paperback links summed up here.

NOTE TO BOOK FOLK IN 2012

This year has got to be the year to banish the horrid view of book as product. Stacks of boxes of Brillo pads. Even painted Warholian stacks of Brillo boxes. Enough!

NOTE TO SELF AND BEES

"Like the bees, [the artists] must put their lives into the sting they give." -Emerson

HOPEFUL THOUGHT FOR A NEW YEAR

George Herbert: "Do not wait; the time will never be 'just right.' Start where you stand, and work with whatever tools you may have at your command, and better tools will be found as you go along."

Thursday, November 29, 2012

Caustic Cover Critic on Thaliad

The Caustic Cover Critic a.k.a. JRSM has a review post up about Thaliad, and he likes the poem and the art by Clive Hicks-Jenkins and the design. Here's a clip from the start:
A while ago I was looking at a poet's website and saw that her next book was a post-apocalyptic blank verse epic, with specially commissioned illustrations. Someone's written a book just for me! I thought to myself. And Marly Youmans has, it would seem, done just that: Thaliad is a marvellous work, an exciting and heartbreaking myth of origin for a society born of a clutch of children who survive a nuclear war.
His next line amused me! It depends on a common mis-pronunciation of my last name (which is, of course, spelled improperly. The Youmans clan evidently can pronounce but not spell! My great-grandfather Nathaniel Yeomans and sometimes Youmans is evidently to blame for the switch in spelling, but we still pronounce the name as YO-munz. I suppose that proves that we can get things half right.)

And JRSM selects a lovely little group of vignettes and covers by Clive at the close, illustrating Beth's elegant page design as well.

Last day for a Phoenicia Publishing discount on the pre-order for a hardcover of Thaliad is the 30th... today and tomorrow left to knock on the door of Phoenicia and buy in a way that benefits both you and the press. And thanks to Beth for sending a link to the Caustic Critic's post...

Friday, July 06, 2012

Rounding up the little doggies--

THE BUSY-FRENZY
"Oh! the Duchess, the Duchess! Oh! won't she be savage if I've kept her waiting!"
THALIAD vignette, Clive Hicks-Jenkins
And now I need to go readreadread and also snag a ticket for "Aida" at Glimmerglass Opera... Hurrah for friend Yolanda Sharpe, who is not only a grand painter but is a spectacular soprano and is the really big-bodied voice you hear in the chorus. Also on the weekend burner: a quick trip to Crumhorn Mountain to see the Scouts in their fireside frolics. We won't mention the need for house-drudgery and a total dearth of house elves: too daunting.

THE BEST CAMELLIA LINK OF THE WEEK
The best new link for A Death at the White Camellia Orphanage is Ben Steelman's review at The Wilmington Star, "Youmans's novel might be her best yet." And I also updated the book page for the novel this week.

CLIVE and BETH and THALIAD
Both Clive Hicks-Jenkins and Beth Adams have posted lots of interesting news about Thaliad. Clive's Artlog overflowing with new work for the book. Beth's Phoenicia Publishing site also has a number of posts about progress on the book.

WHOOP-EE-TI-YI-O
More web-wrestling today. Boring! I managed to ruin my Val/Orson page after pasting in a post from novelist friend Philip Lee Williams that no longer existed except as a cached copy, as he has taken down his blog... That one little action gave Blogger unnatural fits. I finally made a new page for the book and chucked the old one. Ridiculous. So go look at the new one with Phil's post; maybe I won't feel that I wasted so much time! 

Friday, March 23, 2012

More of the interview by Beth Adams--


La dame aux camélias: talking to Marly, part 2

Part two of an interview between Beth Adams of Phoenicia Publishing and me is now up--hope you will take a look and enjoy it! Publication day for A Death at the White Camellia Orphanage is in one week.

Comments are off here, as I would rather Beth get any comments you might like to make. Many thanks to her.

Tuesday, August 02, 2011

The Flute Seller


Today I visited Windy Skies for the first time and encountered the figure of an itinerant peddler, attempting to sell his flutes in the midst of Indian traffic. The image struck me as an apt metaphor for the poet in the 21st century—a wanderer with a sheaf of songs and hand reaching out with a handmade gift while the world whirls by, faster and faster, not like a dervish but like a manic child's top.

Since Beth Adams of Phoenicia Publishing and qarrtsiluni and the cassandra pages just wrote me that she is now reading The Throne of Psyche (my new book from Mercer University Press, May 2011), I feel inspired to post the first section of the title poem.  You will find it below--I'm afraid that even a piece of a longish poem breaks up the short post rule and dances on it! A good many poems from the book have been reprinted on the site, but not the opening of the book.

Well-made poems are creations that reward re-readings. If you have liked the poems from The Throne of Psyche posted on the blog, I hope you’ll consider owning a copy of your very own to read over time. As a physical object, the book is unusually beautiful in design and production. As for the contents, I have strewn the blog with samples so that passers-by may taste and see . . .

Also available for bloggers by request (contact me here or via email or facebook or twitter): uploads of audio readings from The Throne of Psyche; uploads of videos by Paul Digby with me reading poems; images; copies of poems, links to related material, etc.

For more information about the book, please go here and here. For information on how to order my books, go here.

* * *

THE THRONE OF PSYCHE (opening section)

A soul’s mysterious as any tree—
It drives a root as deadly low as hell,
It stretches peaceful branches heaven-high,
It harvests light with leaves of memory.

I. HER GIRLHOOD

You see the limestone wall that catches light—
Those olive trees inside the circuit of stone?
The gardeners said the eldest one had passed
Three thousand years. It looks as gnarled and scarred
As rind from dragons that survived a war,
And underneath’s the spot where I was born,
The Queen my mother snatched by sudden pains
While walking in the garden. I looked up
And saw the sun like showered stars in leaves.
You think I can’t remember? Yes, I can;
And I remember breeze and branches tossed,
The olive shifting, singing down at me,
Saying I was Psyche, blessed and blessing—
I made a cry and Mother laughed in joy
And drew her knife across the bloody cord.
A Queen is busy like an ant whose nest
Is shattered open by a curious
Small child: the tree became a family,
A secret place to go and talk or hide.
I ate her fruit, I drank her bitter teas
When I was ill, and someone carved a doll
Fleshed in olive wood from wind-thrown branches.
The greenish face with streaks of yellow-brown
Made me daydream strangers from another
World where sky was rose and water purple.
In ours, my sisters married parched old kings
To give my father fine alliances;
I scaled the tree and heard an oracle
Foretell I would not bear a fate like theirs.
The courtiers made me abashed with praise
That I was fair, the people offered gifts
As though I were a goddess from the sky.
I grew afraid and gods grew angry, as
They will—yet why, since time is always on
Their side? I clambered up my olive tree
And harkened to the auguring of leaves:
I’d have a fate called strange and wonderful.
But messengers approached my father’s throne
To tell how I must be a sacrifice
To temper Aphrodite’s jealousy.
A monster tarried on the mountaintop,
My promised bridegroom—winged and scaled from sole
To crown, the color of a stormy cloud
But hard as armor from the gods’ own forge.
I thought of sisters, queens in jeweled crowns,
Of truce between security and looks
And guessed perhaps there was more than one way
To be consumed. All gossiped I would be
A morsel for my bridegroom’s evening feed;
My mother shrieked, my father slashed his robes,
Our people raised a mighty swell of grief.

I tipped the polished bronze from side to side
But could not find why such a fate was mine—
A face in metal or in water is
A dim and shining thing. I clambered up
And listened to more prophecy of leaves,
How I would shiver like an olive branch
Before I tasted fate, how I was meant
To be unlike all others of my world,
How I would grow as radiant as a tree
Below the burning chariot of sun.
So when the people’s loud procession came,
I did not cry or flee. I bound my doll
Of greenish olive wood into my sash
And climbed past aloes to the mountaintop,
Walking as if between two founts of tears:
My mother and father, for whom I tried
To be a comforter despite my dread,
Though all the while I gripped the olive wood
That lived three thousand years, as if the luck
Of living long might sink into my palm
And shin a tree of blood up to my heart.
I was sixteen the night I watched the court
And people winding like a starry snake
Down the mountain’s flank to town or palace,
And wept as one by one the torches died.
It seems a thousand years ago to me
And only instants: how my courage flared
Or failed at noises in the wilderness—
I could not speak for dread of the unknown.
On my last morning of familiar things,
I’d flung my arms around the rugged trunk,
And leaves had fluttered message in my ear:
Inside you is a beauty left untouched
By thrones or the admiring throngs of men,
And seeking at your girlhood’s door is love,
A glistering monster and a child of light,
A mountain errand dark with mystery,
A loveliness that springs up from a seed—
Those leaves of fire, that bright enchanted tree.

Saturday, July 23, 2011

Insomniac roundup


the cassandra pages

You may see another picture of me with Beth Adams and one of me signing the hardcover version of my new book, The Throne of Psyche, for her at the cassandra pages. And you can hear Beth muse about our visit and her home region and see images of the place as well. (If you are a Clive Hicks-Jenkins fan and look closely, you will see the two new books about him as well as his Equus book, spread out for Beth to see.)

Pipedreaming

Look at that! When you get up at 3:30 with raging insomnia and proceed to fold laundry, adjust fans and windows, tackle the mess, and finally noodle on the internet, you find surprises. Wandering socks, for one thing. Snoozy breathing everywhere. Cats flopped on cool floors.

A bookseller, children’s author, reviewer, teacher, playwright, director, and scholar, Vikki VanSickle has posted a late but very welcome review of The Curse of the Raven Mocker at Pipedreaming. She says such lovely things that I'll have to remember to stick a quote or two on my Raven Mocker page on my web site.

And did I remember to link to this one?

Zoe in Wonderland

Zoe talks about our big, beautiful Clive Hicks-Jenkins book, and she has also-lovely things to say about my part in it.  Here.

and Robin Has An Idea

Interesting that she picked this little snip from the "Why poetry" interview to post elsewhere: "To be like a magic room that grows bigger on the inside, where it matters." If you missed it and are up, insomniac (or slumbering happily now but awake later), be sure and go by and visit Robin.  Her blog is noodle-worthy!

Friday, July 22, 2011

Meeting Beth Adams and Jonathan Sa'adah

Exclamatory caption:
Here are two women in black t-shirts and similar glasses!
They must be artists! Or twins! Or friends...
The shrimp is me. The non-shrimp is Beth Adams.
I am having a very busy week with deadlines--and today is the birthday of my firstborn child, trala, who is now the astounding age of 22--so I've skipped a day or two of posting. Today I am busy with picnic at Three-Mile Point and birthday celebrations of all sorts (and a deadline), so I'm going to share one of the pictures taken of me earlier in the week with Beth Adams (Phoenica Publishing of Montreal and qarrtsiluni and much else besides!) I'd share more, but they really belong to Beth and Jonathan, and I just imagine Beth will use them elsewhere.

In the background is the herringbone-patterned wall of the Pomeroy House, given by Judge William Cooper to his daughter and new son-in-law. Their initials and the date 1804 are set in stone under a side gable. It is, naturellement, haunted, and in fact has three ghosts--a kicking Indian in the wall, a man in tophat in a mirror, and an old lady in black who has on at least one occasion given directions.

It was lovely to have a long chat with Beth (and lots of raspberries and cream) while her husband, Jonathan Sa'adah, took photographs around the village. We talked about many things, including our upcoming book and family and people we have in common like Dave Bonta and Clive Hicks-Jenkins, and I got out my three beauteous Clive-books for her to see. She gave me a book; I gave her a book. Of course mine was my new book, The Throne of Psyche.

Jonathan showed up for more chat and more raspberries. (Yes, they are both interesting and loveable!) Then the three of us rambled up to Christ Church (renovated as a Gothic church by novelist James Fenimore Cooper after his return from Europe), where Jonathan took pictures of the Tiffany windows.

Once again, I had that odd sensation of already knowing and liking the person met for the first time because we already e-knew each other. And that, I think, is my favorite gift of the net:  meeting and joying in people.

Tuesday, June 07, 2011

The House of Words, no. 33: Luisa Igloria on daily writing practice

The header to Dave's "The Morning Porch."
From a detail of "Paper Garden" by Clive Hicks-Jenkins.
Earlier in the series, Dave Bonta talked about his "accidental" collabration with Luisa A. Igloria. Here the poet and professor discusses her ongoing morning-porch project. Luisa Igloria's ninth and most recent book is Juan Luna's Revolver, winner of the Sandeen Prize (Notre Dame, 2009.) Visit her at her website--and visit her Morning Porch poems and their inspiration via Via Negativa! Luisa was born in Baguio City, the Philippines, and now lives in Virginia, where she is director of the M. F. A. program at Old Dominion University.  She is the mother of four daughters.

Addendum, 12:20 a.m.: I can't resist adding a link to Luisa's latest Morning Porch poem: there is the beggar queen of The Palace at 2:00 a.m., dreaming on her throne of words. And very fine she is, too! Thank you, Luisa!

From having read the fine poetry that Dave Bonta and Beth Adams gather into each issue of qarrtsiluni journal, I have some familiarity with their blogs and websites, and so I’ve visited Dave’s microblog The Morning Porch before. But in a lull just before Thanksgiving last year, I read Dave’s November 20 observation of a pileated woodpecker inching up the trunk of a locust tree “like a pawl on an invisible ratchet”  and I thought: what a cool image, what a cool word-- pawl-- and immediately I wanted to turn it into a poem. It’s been about a hundred and fifteen days since then, but what’s happened is that I’ve been writing daily poems in response to Dave’s The Morning Porch observations. I really didn’t intend for it to turn out into the daily “devotional” that it seems to have become, but now I’m thoroughly hooked.

What I’m happiest about is how I’ve incorporated it into my daily writing practice, and that the simple rules I’ve set for myself seem to work well in terms of getting me to that place of focus and attention where there is the potential for making poetry happen. My rules are: I don’t have a fixed time for visiting The Morning Porch to read the latest line Dave’s written. But when I do, I try to respond immediately, without premeditation, composing as I go. I try not to belabor what I find in the starting “trigger”-- because I don’t see myself obligated to respond via a form of poetic reportage. What happens instead is that the bit of image or language that first catches my eye or ear, meets what I bring to that moment (a combination of many things- what I may have been reading or remembering recently, what kinds of questions I might be asking that particular day). Finally, I try to do all of this in thirty minutes, forty max; I feel that if I go over this time limit I set for myself, I will be belaboring the whole enterprise too much.

For instance, Dave’s TMP observation on January 28 was “The silence of falling snow. When my furnace kicks on, the three deer digging under the wild apple tree startle and run down the slope.” When I read that, the first sentence, “The silence of falling snow” coupled with the image of “the wild apple tree” had a certain beautiful gravity that felt-- and sounded-- almost biblical. The wild apple tree and the three deer digging also made me think immediately of medieval tapestries, rich with illustrations of plants and animals. From there it was a short leap to recalling stories in bestiaries like the Physiologus. It has these famous animal allegories like the one of the unicorn which only lays its head upon a virgin’s lap, or the phoenix which immolates itself and then rises from its own ashes on the third day; or the pelican that gouges its own breast to feed its young its own blood. I also recalled the famous engravings that Pieter van der Borcht had made of some of these stories, and I refreshed my memory by looking at a few online images. The one I mention in the poem, of the lion and lioness breathing upon a stillborn cub in order to bring it back to life, spoke urgently to me perhaps because some of the difficult questions I am living at this time of my life involve pondering what it means to be a parent, what it means to struggle with raising children with difficulties; pondering what our (my) individual choices have brought to bear on our particular dynamic as a family. All of these came together quite rapidly in the composition of the poem, which I see now is just another form of asking the questions which I continue to grapple with on a daily basis. I don’t-- or the poem doesn’t-- necessarily answer these questions. But there is a certain kind of release in being able to confront them even briefly in this form. The quote from Aquinas that I use as epigraph is something I thought of later, after I’d written the poem.

Intercession

“Adoro te devote, latens Deitas,
Quae sub his figuris vere latitas…”
["I adore you devoutly, O hidden God
truly present under these veils..."]
—St. Thomas Aquinas

The silence of falling snow perhaps is like the hush
that lives somewhere in each moment of great
preparation: as for instance in Pieter van der Borcht’s
medieval copperplate engraving, when you would not know,
unless you read the captions, that the fierce and terrible
mangled faces of the lion and the lioness are from
their desperate expenditure of chi so that their stillborn
cub might live— under the gnarled cypress and rock,
see how its body writhes, stretching and coming to at last
under the double blowtorch of breath. And what of the meal
that the pelican gathers for her young from the cabinet
of her own breast, bright speckled clusters of blood from
the vine? Feathers fragranced with cedar, the phoenix
bursts into flame then crests from its ashes on the third
day; the unicorn comes to lay its head on the virgin’s lap,
and the foliage glistens like a page of illuminated
text. Orpheus knew, afterwards, the dangers of looking
too closely at the silence, of doubting what it might bear.
Think of him ascending from the depths, not hearing
her voice or footfall, not seeing her face. This morning,
also by myself, I bend to attend the furnace’s smolder.
Three deer digging under the wild apple tree
in the garden startle and run down the slope.

The poems that come out of my engagement with the prompts on The Morning Porch do not all have the same tenor. That’s perfectly fine and really to be expected. I’ve really preferred the recklessness of not having a really fixed subject to guide me into the writing. After all, poetry is about “the ineffable”, isn’t it? Some of the poems I’ve written are the result of little happy accidents, like misreading. For instance, on February 4 Dave’s TMP observation was “Dim sun. Trunks and branches still sheathed in ice glisten, surrounded by duller companions like glitterati on the streets of New York.” Perhaps I was hungry, or my glasses need cleaning, or I needed more coffee-- whatever it was, I read “Dim sum” and the result was the (I guess) food poem which I’ve copied out below--


Dim Sun, Dim Sum

Dim sun, your soft
floury edges today
make me think of steam
clouds under a wicker basket,
pillowy mounds of dough
pulled into a pucker
atop sweet or savory buns…

Let the glittery icicles
on twigs and branches trade
their hard-edged, fishnet-
stockinged gossip above us all,
here at an oilcloth-covered table
in a little hole in the wall
where the air is fragrant
with ginger and scallions
and dark plum sauce.

On March 14, Dave’s TMP observation was “Scattered snowflakes wander back and forth like lost souls. I watch one explode against a branch of the dead cherry. The croak of a raven.” That morning, before I visited TMP and before I started working on various tasks at my desk at the university, I was looking at some of the photos on various news websites from the earthquake-devastated towns and cities in Japan. I was particularly riveted by the photograph of a woman weeping, surrounded by broken beams, pulverized concrete. But beside her, inexplicably, neatly lined up, there was a pair of cherry-red rubber boots. And I wrote this poem, where I re-imagined the “croak of a raven” in Dave’s original post as an elegy listing the names of really more than a thousand dead:


Landscape with Red Boots and Branch of Dead Cherry

In a photograph, a woman sits on her haunches
amid a sea of debris. Her feet are bare. A pair of red
rain boots caked with mud perches neatly at her side,
the way they might rest in a parlor. The sky is the color
of rain, the color of heaving things: water a wall
surging over highways, toppling cars and beams
and lorries. The past tense is already active here—
fields have lost their stenciled borders; there’s little left
to read in maps. Above the burning cities, snowflakes
scatter, wandering back and forth like spirits. I watch
one explode against the branch of a dead cherry.
Croak of a raven making the shape of a thousand names.
*

Which is to say, after these examples, that inspiration really comes from many disparate sources. What I try to do in these daily encounters at Dave's The Morning Porch, is to keep myself open, limber, and receptive to the organic totality of all that may come together in the creative process. I think that this is the way most of us work, anyway-- one handhold after another, feeling our way toward that scent, that sense, that feeling which first enticed us with the idea that it might become a poem.

Norfolk, VA; 10 April 2011

Tuesday, May 24, 2011

The House of Words (no. 28), Dave Bonta and the internet, 8 (qarrtsiluni)

Anne Morrison Smyth
in qarrtsiluni

MY: How and why did you and Beth Adams begin qarrtsiluni? What has surprised you along the way?

DB: Beth and I were part of a group of creative writers and artists, all bloggers, who came together to launch qarrtsiluni in August 2005 as a group-writing/publishing exercise. We took turns as editors, two and three at a time, of what were at first monthly periods of writing and creating artwork in response to a theme. The rest of the group ran out of steam by the following June, so Beth and I decided to take it over as managing editors. It gradually turned into a regular magazine, though we've never gone so far as to issue periodic issue-dumps, as other online magazines do, preferring instead to remain bloggish, with new material at least five times a week, and comments activated for every post. To us, this is the best way to get and maintain readers online. I remain surprised by how many other online journals act as paperish as possible, and how many seemingly go out of their way to avoid being indexed by search engines. On a more positive note, I'm also often surprised and touched by how grateful writers are that we've published them — even some very well-established writers, with many books under their belt. I feel at times as if Beth and I are perpetrating an elaborate hoax.

This has always been a sacred place, a place of healing; the chapel and the Saints are quite recent emanations of this. If you walk west from the chapel, past some prehistoric standing stones, into a wooded ravine, you’ll come to the holy well. In mediaeval times it was dedicated to St Tujan, and has been a sacred place probably since the bronze age; Gallo-Roman remains have certainly been found there. People throw the age-old votive offerings of coins into the well. There is a stone cross and other stone artefacts from who know where set up here. A fallen tree covered in ivy forms an arch in front of it. On the ivy stems someone has inscribed the words ‘Cécile tu nous manques’ — ‘Cécile we miss you.’
Who knows who Cecile is or was and why she is missed, but someone brought their sadness, their angoisse to this particular place of power and left it as an offering in these words, a poignant counterpoint to the marble plaques of gratitude.
--Lucy Kempton


* * *
I am one of those writers who has enjoyed appearing in qarrtsiluni. What I like most about it is the responses of readers. I've been pleased and sometimes startled by the quantity and good-heartedness of replies to work. And by the sheer numbers Dave reports as reader views.
              Long may it wave! --Marly

Tuesday, April 12, 2011

The House of Words (no. 16): Small presses: Phoenicia Publishing

Halving cherries,
I prie the stones
from their black hearts,
blood pooling
beneath
my fingernails.

Interview with Beth Adams of Phoenicia Press, continued

Marly:  Beth, you live a highly creative life. You draw, take pictures, write poetry, keep a blog, sing in a choir—probably there’s more that I don’t see. All these things are satisfying. A small publishing house is quite a bit of work and expense. In what ways is it satisfying to join the world of publishing?

Beth:  It's funny – when we were moving to Montreal from Vermont, I found a tiny book I had made when I was maybe 7 or 8, with drawings and a hand-written text. I’ve always “published” things, in one form or another, whether it’s been my own stuff, or newsletters for organizations, or elaborate professional jobs for corporations and institutions. I started my career at a time when you literally had to construct the entire job by hand on a light table, with type galleys and x-acto knives and wax and rubylith masks. Computers revolutionized the whole process, starting in the early 1980s – thank God! -- but digital technology for print-on-demand publishing opens up possibilities for someone like me that are almost too fabulous to be true. I hope and expect that e-book publishing will eventually offer the same design quality, and control over formatting, as print, because that is where I think we are headed.

An entrance to Lincoln Inn's Fields, London, 2010
11" x 7" watercolor
And the internet is so great! It’s put me in contact with talented and creative people all over the world – such a far cry from the isolation and frustration of being a creative kid in a small central New York town in the 1950s and 60s, as you can probably imagine, Marly! I’m also fortunate to have been in a long love and work partnership with my husband, who’s both a very talented photographer and an expert on the computer side of things, as well as being my best and most trusted critic. All these relationships make it possible and exciting to put together book projects that I hope are distinctive and worthwhile.

I have a bit more time in my life now. Some of it needs to be devoted to my own work, but I’m not someone who is happy working alone on personal projects all the time. It’s very satisfying to me to help bring a wonderful manuscript into life as a book -- not just because I love books, but because I enjoy working closely with the authors, and it’s their passion and hard work and spirit that should be reflected in what we do together. In a small way, I hope I’m giving something back to literature and to art – both of which have given me so much.

Monday, April 11, 2011

The House of Words (no. 15): Small presses: Phoenicia Publishing

Beth Adams talks about small press publishing, continued

Three small stones observed,
made of pigment, paper, love--
January's gifts.

31 January 2011

Another strength of a micro-press is that it can be a speedy hare. We can bring high-quality books out a lot faster than the typical publishing cycle, and sometimes there’s an important reason to do that. Rachel Barenblat’s book happened very fast indeed – there were only about six weeks from the decision to do it until the publication, which was timed to coordinate with her ordination as a rabbi. And Christmas and New Year’s came in-between! I wouldn’t want to do that often, but with this process it’s possible.


"Cycladic Figure in a Quebec Landscape," 2010
Preparatory drawing in Conté crayon and chalk
Because I’ve spent my professional career – more than 30 years now -- in graphic design and communications, with a focus on print and digital publications, I’m used to tight deadlines where quality has to be maintained, and the whole publishing process is very familiar to me. But if I couldn’t act as editor, designer, and publisher, and had to pay someone, this wouldn’t be financially viable. Even so, it’s a labor of love; I don’t pay myself anything, and the goal is to break even, which we are doing.

I’ve worked with many other artists, photographers, writers, and musicians over the years-- and that’s important. Publishers need to know what really means to be a creative person, especially in today’s world. We need to be collaborative, and empathetic, never exploitative: then it can be a creative partnership and a rewarding process.