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Showing posts with label The Book of Ystwyth. Show all posts
Showing posts with label The Book of Ystwyth. Show all posts

Sunday, May 05, 2013

Master Jug and Lady Candlestick

The Blue Jug (2006) by Clive Hicks-Jenkins
from Marly Youmans, The Foliate Head (UK: Stanza Press, 2012),
and also anthologized in The Book of Ystwyth: six poets on the art of Clive Hicks-Jenkins (Wales/US: Grey Mare Press and Carolina Wren Press, 2010)
Master Jug and Lady Candle Stick 

With hands on hips and foliate attire,
The candlestick is all umbrageousness,
A shady lady who has stripped the trees
At upper right to flock her dress with leaves,
A woman apt to give or take offense,
Set resolute beside the one-armed jug.
The wide blue boat of hat upholds a stub
With candlewick to warn his waters off—
She’ll have no wild outpourings of his love,
No boarding of the levees of her skirts.
She doesn’t know that he, entrenched in peace,
Is only musing on the color blue
And how he can by rounding clasp the sea
Until his wheel-turned soul grows chasmal-deep.
Impaled upon a thorn, the little fish
At lower right perceives what she cannot
And dreams cloud-cuckoo lands below the waves—
Will get there just as soon as Master Jug
Can gather all the seas inside himself,
Enspelling blue chimeric revery. 
                            The Blue Jug, 2006



















* * *
Marly, recent and elsewhere:

  • Thaliad's wild epic adventure in verse, profusely decorated by artist Clive Hicks-Jenkins of Wales (Montreal: Phoenicia Publishing, 2012) here and here 
  • The Foliate Head's collection of poems with art by Clive Hicks-Jenkins, Stanza Press (UK) here
  • A Death at the White Camellia Orphanage (novel) from Mercer University Press (ForeWord 2013 finalist in the general fiction category; The Ferrol Sams Award, 2012) here
  • The Throne of Psyche, collection of formal poetry from Mercer, 2011, here
  • Samples from my 2011-12 books at Scribd.
  • See tabs above for information on individual books, including review clips.

Thursday, February 02, 2012

Leaves of the Head

Clive Hicks-Jenkins has moved on from the eight final images for the cover of The Foliate Head, though you may still vote  on your favorite one (or two) if you like.  Now he has bent his own leafy mind to interior green men, or "green men in black and white."

And we have now been given absolute freedom in almost every way to frolic with the book design. Pete Crowther, publisher of Stanza Press (UK), has given us his blessing to do whatever we like save change the dimensions of the book! So this means much pleasure for author, artist, and designer...

Andrew Wakelin designed the two books in Clive's honor which came out at the time of the retrospective show last year, and they are both beautiful--the gorgeous art book from Lund Humphries that accompanied the exhibition, Clive Hicks-Jenkins; and The Book of Ystwyth: Six poets on the art of Clive Hicks-Jenkins from Gray Mare and Carolina Wren. Andrew will also be in charge here. Andrew, Clive, and I are the conspirators who will have our say, and that will be great fun.

Sunday, May 15, 2011

Why I simply cannot pronounce Welsh

Standing, l-r: Callum James. Dave Bonta.
Seated, l-r: Damian Walford Davies, Ian Hamilton
who read for the late Catriona Urquhart, Andrea Selch,
Clive Hicks-Jenkins, and Marly Youmans.
The reading at Aberystwyth University Art Centre
for The Book of Ystwyth: Six poets on the art of Clive Hicks-Jenkins.
Photo from Clive's Artlog.
One of the challenges of reading a poem with Welsh words in it was sounds so strange they reminded me of a cat with hairballs. Then there's that weird sound where you blow air from each side of your mouth at once...

Anyway, the following sums up why a goodly amount of fiery (yes, I have raging Welshmen and Welshwomen in my family tree, revolters from British rule, heroes and heroines of the wild, wild Southern end of the American Revolution) Welsh blood in my veins does not help me to pronounce. 

You may or may not know that there is a hymn tune called Llanfair. In the states, a popular hymn to that tune is "Jesus Christ is Risen Today," a song often heard at Easter. The name of the tune comes from the first two syllables of a Welsh village, Llanfairpwyllgwyngyllgogery-chwyrndobwllantysiliogogogoch. I am sorely, sorely afraid that I missed a pair of l's while copying that down... The name means something like this: The Church of St. Mary in the hollow of white hazel near the fast-running whirlpool of the church of St. Tysillio beside the red cave.

Now that is wondrous and beautiful and a poem of a name but impossible, isn't it?

Saturday, May 07, 2011

The Welsh Frolics

Clive Hicks-Jenkins, artist.
Andrew Green, Head of The National Library of Wales.
Damian Walford Davies, poet and professor at Aberystwyth University.
Three fascinating men...
Clive is refusing to say Wensleydale for the photographer!
Andrew is holding the beauteous monograph, Clive Hicks-Jenkins
(UK: Lund Humphries).
Damian is holding the also-beauteous
The Book of Ystwyth: Six poets on the art of Clive Hicks-Jenkins
(The Grey Mare Press and Carolina Wren Press.)
The picture was pilfered from Clive's wonderful Artlog.
May 6
Dave Bonta, Andrea Selch, Damian Walford Davies, Callum James, Clive Hicks-Jenkins and Ian Hamilton for the late Catriona Urquhart, and I read at the Arts Centre, Aberystwyth University. Launch of The Book of Ystwyth: Six poems on the art of Clive Hicks-Jenkins (The Grey Mare Press / The Carolina Wren Press.) I have a sequence of six poems, "The Book of Ystwyth," in the book.

May 7
Opening of Clive's 60th birthday painting retrospective at The National Library of Wales, Aberystwyth. 2:00-4:00. It is also the launch of the gorgeous Lund Humphries monograph, Clive Hicks-Jenkins. I have a chapter on the miraculous in Clive's work in this one. Mine is a bit wilful--a gallimaufry of sketches and stories instead of an essay. On top of that, I managed to surprise him by turning "My Dream Farm," the painting he did for the MOMA Wales show for children, into an example of the miraculous. I am present here and there in the gloriously CliveCliveClive exhibition, as the poem "The Blue Marches" is on tape loop and I have done the voiceover for the film on Clive's maquettes, using the text from Kathe Koja's essay.

May 8
Fesitvities at Ty Isaf in celebration.

Monday, April 18, 2011

The House of Words (no. 20): Dave Bonta and internet publishing, 1


http://www.phoeniciapublishing.com/odes-to-tools.html
Sail off to Phoenicia for audio files, purchases,
and information about Dave Bonta.
 
Today begins a conversation with Dave Bonta, who is well-known for his many online enterprises, mentioned below. He also has several new print books, one being Ode to Tools from Phoenicia Publishing. Publisher Beth Adams says of that "Dave's popular blog, Via Negativa, contains six years of his almost-daily essays, poems, photographs and videos, but this is -- rather incredibly, considering the blog's breadth and consistently high quality -- the first book that's come out of it. Though he lives on a fairly remote mountainside in rural Pennsylvania, Dave is quick to point out that he's 'not nearly as handy as these odes might suggest' and that his favorite tool is the computer mouse. A writer of poems since the age of seven whose work has appeared in numerous publications, he's now the co-editor of qarrtsiluni online literary magazine and an author who has fully embraced the Internet but says he's 'way more excited to read these poems in print than he thought he'd be.' We hope you'll be excited too."

Dave also has a chapter of poems in the soon to be launched anthology, The Book of Ystwyth: Six poets on the work of Clive Hicks-Jenkins. This gorgeous, profusely-illustrated book will be launched with a reading at Aberystwyth University on May 6th, with all five living poets in attendance and Clive reading for the late Catriona Urquhart. I'm looking forward to meeting Dave in Wales and reading with him.


Co-distributed by the Grey Mare Press (UK)
and Carolina Wren Press (US)

MY: You have a little empiry with qarrtsiluni, Via Negativa, Woodrat Photoblog, The Morning Porch, and Moving Poems (not to mention Festival of the Trees and other side activities I may not even see.) When and how did you start, and does your internet world just expand gradually in time, or have you had some sort of plan — is it simply wandering and finding new paths?

DB: Yes, it's been gradual and completely unplanned. I began posting things on the web in early 2003, as we were ramping up to invade Iraq. My first site was on the now-defunct Geocities. My only internet access then was a glacially slow dial-up connection at my parents' house. Prior to that, I had shared essays and occasional poems via email lists, so it felt like a natural next step, especially since some of the friends whose email lists I'd taken to hijacking — patriotic sorts sharing jingoistic cartoons and the like — were beginning to wise up and cloak the address list so I couldn't respond with a "reply all."

Geocities had no comment feature, so the only feedback was by email or occasional links from other, more widely read websites. Still, I didn't know any better and it was fun having my own site, with pages for homebrew recipes and forest issues as well as essays, which were in the lyrical-political style of Arundhati Roy and Eduardo Galeano. Had I not been on a slow boil about our war in Afghanistan and then Iraq, it would've taken me a lot longer to get an online soapbox, I'm sure, given that I am both very lazy and generally averse to change.

Friends started telling me about Blogger that summer, but like most literary snobs I turned my nose up at it, both because of the absurd and ugly word, "blog," and also because of what I was hearing about blogs in the mainstream media: that they were filled with worthless minutiae of people's daily lives and/or links accompanied by minimal, uninformed comments. It didn't seem at all attractive. When I finally did start a Blogger site in mid-December 2003, I called it Via Negativa in part because I had a chip on my shoulder about the medium, and wanted to see if I could take writing about nothing and kick it up a notch or two.

I am eternally grateful to Blogger for forcing me to learn HTML, and later CSS. The only way to get links in the sidebar back then was to edit the template, and Blogger didn't even have a native comments system yet, so like everyone else I had to paste in the code for Haloscan comments. Of course, once I got comments, it changed the whole equation. Now, I no longer had to leave the mountain to share ideas with like-minded people. Eight years later, I remain good friends with at least a dozen people I met in those first couple months of blogging, including my co-editor at qarrtsiluni, Beth Adams. Her blog the cassandra pages was a major water cooler, in those pre-Facebook days, for left-liberal intellectuals with an interest in art, religion, and culture.

Continued