The new Diode issue is up. I have three poems in it, tentatively from my new manuscript.
But, as always, I'm with very talented folks. Jason Bredle. Karyna McGlynn. Michelle Bitting. Neil Aitken. Just to name a few. Thank you again to Patty and Jeff.
*
Also, the new issue of Blackbird is up. Check it out too.
*
Finally, a trailer for The Road is up. What bothers me initially is it looks like there's going to be tons of CGI, which could prove disastrous. I hope it's only establishing shots. Can't wait to see the no-longer-used turnpike shots from the Breezewood area, and also what they filmed at Conneaut Lake Park, if it's even recognizable.
But overall it looks like it could go either way. A lot of the creepy people in the book look like they're still that way in the movie, so we'll see.
I'll try to see it in the theater first if it doesn't leak before October, but I can't make any promises.
Showing posts with label journals. Show all posts
Showing posts with label journals. Show all posts
Friday, May 15, 2009
Thursday, April 30, 2009
Almost May
Find Craig Arnold. The poet has gone missing in Japan. The situation is frightening and bizarre, and I hope he's out there safe and sound somewhere. Looks like the search has continued. Keep him in your thoughts, and do what you can to help.
*
Got my contributor copies of Grist, and it looks great. Lots of good poets. Adam Clay, Gary McDowell, Danielle Pafunda, Al Maginnes, Nancy Eimers, and many more. And there's a graphic novel too. It's only their second issue, but if the quality continues, I see amazing things in their future. Thanks again to Josh and Michael for accepting my poem for the issue.
*
Do any other fellow teachers / professors look at RateMyProfessors.com? I end up doing it every month or two probably, and there's something written recently probably from one of my students in my class this semester, and for some reason it just bugs the shit out of me.
I understand everyone's not going to like me, or my teaching style, because I'm no bullshit. And this is only speaking of teaching composition, not creative writing. Come to class. Do your work. And chances are you're going to do well. The class is structured like that. It's almost hard not to do well if you come to class and do everything you're supposed to. I think that's the nature of a composition course, at least what VCU preaches for theirs, and I don't think there's a problem with that at all.
Here's what the recent one says:
"I found him REALLY annoying. I went to a writing intensive high school and he basically tried to change everything about my writing style however I got better grades when I used my own methods. He couldn't really explain himself well either. He was very dry."
I like how no one elaborates either, which makes most of the critiques even more nonsensical, those from the students who don't like me. And it looks like that "writing intensive high school" didn't teach this student (I have a guess of who it is out of two students, and I'd bet a lot that it's one of them) how to use a comma or a period. Ever heard of a run-on sentence, Dear student?
And I'm pretty sure it's a student that's going to get an A, who did their work, and who didn't say a lot in class, but always had a smile on their face. And then I find out they kind of hated me as a teacher, which annoys me a bit because I had no idea they were two-faced like that. Saddens me a bit I guess.
Again, the whole thing doesn't make a lot of sense, especially when I have so many other students saying that they had a good experience in the class.
Thankfully, though, again, this is my last class ever at VCU. And I thank them for all the experience I've had teaching so many things in the past few years (which I've mentioned before in an earlier post), and I hope I have more eager and willing students in New York that actually want to be in class and learn.
Maybe that happens everywhere, but I've found that a lot in the last few years. Many students, because they're not English Majors, seem to think their time should be spent elsewhere, and a lot of that is taken out on the teacher.
You're not going to please everyone, I suppose. But I'm eager to get new students, from the same general region where I'm from, and try to continue getting better at being a teacher and learning new things as I go. That's all we can ask for as teachers and professors.
*
The new Passion Pit record, Manners, has leaked. I wish I hadn't heard "Moth's Wings" before it, because that's easily the best track. The record reminds me of a band I need to break out again, Antarctica, from a while back, though they were a bit heavier on the drums, real drums instead of processed, and had more shimmering guitars as the focus.
Listening to the new Patrick Wolf record too. Also need more time with it.
Anxious to give them more listens, though. We'll see.
*
Got my contributor copies of Grist, and it looks great. Lots of good poets. Adam Clay, Gary McDowell, Danielle Pafunda, Al Maginnes, Nancy Eimers, and many more. And there's a graphic novel too. It's only their second issue, but if the quality continues, I see amazing things in their future. Thanks again to Josh and Michael for accepting my poem for the issue.
*
Do any other fellow teachers / professors look at RateMyProfessors.com? I end up doing it every month or two probably, and there's something written recently probably from one of my students in my class this semester, and for some reason it just bugs the shit out of me.
I understand everyone's not going to like me, or my teaching style, because I'm no bullshit. And this is only speaking of teaching composition, not creative writing. Come to class. Do your work. And chances are you're going to do well. The class is structured like that. It's almost hard not to do well if you come to class and do everything you're supposed to. I think that's the nature of a composition course, at least what VCU preaches for theirs, and I don't think there's a problem with that at all.
Here's what the recent one says:
"I found him REALLY annoying. I went to a writing intensive high school and he basically tried to change everything about my writing style however I got better grades when I used my own methods. He couldn't really explain himself well either. He was very dry."
I like how no one elaborates either, which makes most of the critiques even more nonsensical, those from the students who don't like me. And it looks like that "writing intensive high school" didn't teach this student (I have a guess of who it is out of two students, and I'd bet a lot that it's one of them) how to use a comma or a period. Ever heard of a run-on sentence, Dear student?
And I'm pretty sure it's a student that's going to get an A, who did their work, and who didn't say a lot in class, but always had a smile on their face. And then I find out they kind of hated me as a teacher, which annoys me a bit because I had no idea they were two-faced like that. Saddens me a bit I guess.
Again, the whole thing doesn't make a lot of sense, especially when I have so many other students saying that they had a good experience in the class.
Thankfully, though, again, this is my last class ever at VCU. And I thank them for all the experience I've had teaching so many things in the past few years (which I've mentioned before in an earlier post), and I hope I have more eager and willing students in New York that actually want to be in class and learn.
Maybe that happens everywhere, but I've found that a lot in the last few years. Many students, because they're not English Majors, seem to think their time should be spent elsewhere, and a lot of that is taken out on the teacher.
You're not going to please everyone, I suppose. But I'm eager to get new students, from the same general region where I'm from, and try to continue getting better at being a teacher and learning new things as I go. That's all we can ask for as teachers and professors.
*
The new Passion Pit record, Manners, has leaked. I wish I hadn't heard "Moth's Wings" before it, because that's easily the best track. The record reminds me of a band I need to break out again, Antarctica, from a while back, though they were a bit heavier on the drums, real drums instead of processed, and had more shimmering guitars as the focus.
Listening to the new Patrick Wolf record too. Also need more time with it.
Anxious to give them more listens, though. We'll see.
Tuesday, March 10, 2009
Purgatorial
Got my copies of Barn Owl Review #2 the other day. I honestly was impressed with the quality of a lot of the writing (I suppose I shouldn't be surprised by that with the folks who are running it, but I say that because I can't say that about every journal I've been in, which happens when you're putting together what is essentially a compilation of writing every issue of every journal: the luck of the draw), and I think it's an issue I'll continue to pick up and read through as it eventually finds a spot on my shelf.
*
Speaking of the aforementioned issue, my friend and former classmate at VCU, Anna Journey, has two poems in there too, both from her just-released first book, If Birds Gather Your Hair for Nesting. Many of the poems from the book I and others saw in workshop a few years ago, the last workshop many of us took before our time was taken up with our theses. The poems are wild and full of energy, and I have a feeling a lot of folks are doing to dig her book. It's nice to see that essentially some MFA theses (even though Anna's certainly evolved with new poems, cut poems, etc., like every book does) can become books that win great prizes, despite the thoughts of many when it comes first books.
*
I got my rejection letter from Missouri the other day also. I was not surprised by this, especially since Gary got into seven out of eight schools two years ago (and I hope you don't mind me saying this, Gary), the only rejection being Missouri. So I had little faith in an acceptance on my end.
What impressed me about Missouri was the former and present students, and all that many of them have done while attending and beyond their degree.
That said, am I'm speaking quite frankly here, the faculty was the one reason I was least thrilled about applying. But the school's reputation, and the fact that I have faith in myself to do well wherever I go, was why I applied. And it's tough not to when so many great poets—the list could be lengthy—attend right now or have attended in the past.
So there are five schools I still need to hear from, and I think it's coming down to the point where either rejections or acceptances will be in the mail soon. Or via email. Or the phone.
*
Speaking of the aforementioned issue, my friend and former classmate at VCU, Anna Journey, has two poems in there too, both from her just-released first book, If Birds Gather Your Hair for Nesting. Many of the poems from the book I and others saw in workshop a few years ago, the last workshop many of us took before our time was taken up with our theses. The poems are wild and full of energy, and I have a feeling a lot of folks are doing to dig her book. It's nice to see that essentially some MFA theses (even though Anna's certainly evolved with new poems, cut poems, etc., like every book does) can become books that win great prizes, despite the thoughts of many when it comes first books.
*
I got my rejection letter from Missouri the other day also. I was not surprised by this, especially since Gary got into seven out of eight schools two years ago (and I hope you don't mind me saying this, Gary), the only rejection being Missouri. So I had little faith in an acceptance on my end.
What impressed me about Missouri was the former and present students, and all that many of them have done while attending and beyond their degree.
That said, am I'm speaking quite frankly here, the faculty was the one reason I was least thrilled about applying. But the school's reputation, and the fact that I have faith in myself to do well wherever I go, was why I applied. And it's tough not to when so many great poets—the list could be lengthy—attend right now or have attended in the past.
So there are five schools I still need to hear from, and I think it's coming down to the point where either rejections or acceptances will be in the mail soon. Or via email. Or the phone.
Monday, February 16, 2009
Fiber Density
On Saturday I received my issues of Copper Nickel 11. It looks amazing. I was in issue 6 a few years ago, and though that looked great too, it seems like Jake and company are really showing people that they're going to match the best out there. Plus I'm in there with many wonderful writers, and I still have so much left to read within the pages.
*
It turns out that Oklahoma State University has given me an amazing offer, the specifics of which I won't talk about here.
Needless to say, it's extremely enticing and very flattering. I got rejected from another school, and I still have six to hear from, so I hope they give me some time to at least see what other schools will be offering—if all aren't rejections of course.
Since Jess and I are getting married in July, there's much more I—and we—have to consider. But since it's going to be an "us" rather than a "me," which it was when I moved to Richmond (even though we were dating long-distance then... I still don't know how she was able to put up with me for those years), collectively we're going to have to figure out what's best for the both of us eventually. And again, with six schools I still have to hear from, I'm trying to relax and not speculate until I know what my real options are going to be before diving into multiple needless and hypothetical situations.
*
The new Dan Deacon record leaked, even though it seems like a re-rip or transcode, since the record seems way too scratchy and fuzzy.
I wasn't a huge fan of his last one, but upon the first listen to Bromst, I was floored. I'm not a huge fan of bands like Deerhoof and Ponytail and those spaz-pop or chaoti-pop bands or whatever the hell you want to call them.
But I felt like there were so many bands this record reminded me of that it kind of to-the-good imploded on itself, constructing its own animal. And it's beautifully and heavily percussive, which I love since I used to play the drums (though in a small town where no one loved good music, so it became just something to do when I was bored), keyboard-manipulated, and poppy. But in a very different and, to me, very accessible way that other records of the—can we call it one at this point?—genre really can't wholly find.
I can't wait to hear a real copy of it, and I may even buy it when it finally comes out. It seems like headphones would be a great idea too, as the layers, percussive or otherwise, on this sucker are many.
*
It turns out that Oklahoma State University has given me an amazing offer, the specifics of which I won't talk about here.
Needless to say, it's extremely enticing and very flattering. I got rejected from another school, and I still have six to hear from, so I hope they give me some time to at least see what other schools will be offering—if all aren't rejections of course.
Since Jess and I are getting married in July, there's much more I—and we—have to consider. But since it's going to be an "us" rather than a "me," which it was when I moved to Richmond (even though we were dating long-distance then... I still don't know how she was able to put up with me for those years), collectively we're going to have to figure out what's best for the both of us eventually. And again, with six schools I still have to hear from, I'm trying to relax and not speculate until I know what my real options are going to be before diving into multiple needless and hypothetical situations.
*
The new Dan Deacon record leaked, even though it seems like a re-rip or transcode, since the record seems way too scratchy and fuzzy.
I wasn't a huge fan of his last one, but upon the first listen to Bromst, I was floored. I'm not a huge fan of bands like Deerhoof and Ponytail and those spaz-pop or chaoti-pop bands or whatever the hell you want to call them.
But I felt like there were so many bands this record reminded me of that it kind of to-the-good imploded on itself, constructing its own animal. And it's beautifully and heavily percussive, which I love since I used to play the drums (though in a small town where no one loved good music, so it became just something to do when I was bored), keyboard-manipulated, and poppy. But in a very different and, to me, very accessible way that other records of the—can we call it one at this point?—genre really can't wholly find.
I can't wait to hear a real copy of it, and I may even buy it when it finally comes out. It seems like headphones would be a great idea too, as the layers, percussive or otherwise, on this sucker are many.
Tuesday, February 10, 2009
Balcony
I got the galleys sometime last week, but I just found out the new issue of Front Porch is up.
And it looks like a good one.
I have two new poems in there from the current project, maybe chapbook, I'm trying to work on.
And it looks like a good one.
I have two new poems in there from the current project, maybe chapbook, I'm trying to work on.
Monday, February 9, 2009
Fizzy Lifting Drinks
A good mail day today. I got my copy of the "Found" issue of Cream City Review.
It looks really nice.
I wonder how many journals wanted to have copies for AWP.
I was lucky because that was the first time I'd ever sent to them, and they took a poem.
And in the email variety, I got a letter from Oklahoma State letting me know I got in. I still have seven schools to hear from, but I didn't think I'd be hearing this early.
I don't know what they're offering me yet either, if anything, as the official letter should be in the mail within the next few days, but it's nice to be one for one at this point.
Hopefully I'll start hearing back from the rest in March if not before.
It looks really nice.
I wonder how many journals wanted to have copies for AWP.
I was lucky because that was the first time I'd ever sent to them, and they took a poem.
And in the email variety, I got a letter from Oklahoma State letting me know I got in. I still have seven schools to hear from, but I didn't think I'd be hearing this early.
I don't know what they're offering me yet either, if anything, as the official letter should be in the mail within the next few days, but it's nice to be one for one at this point.
Hopefully I'll start hearing back from the rest in March if not before.
Wednesday, February 4, 2009
Copy
Got my Madison Review contributor copies in the mail yesterday. Their website hasn't been updated, but you can see the in-my-eyes killer cover image at the top of their blog.
My poem is the first I've ever published—in addition to the first time I think I've ever included it in a poem—with the word "fucking." For how much I seem to swear in real life (which is certainly a bad habit I need to kick), I try to stay away from such ugliness in poetry as far as words go. It's never really been a conscious decision, but now that I think about it, that's probably why.
Writers also include: Henry Combellick, Lightsey Darst, Donald Dunbar, Wendy Fox, Meredith Davies Hadaway, David Joiner, Daniely Menely, F. Daniel Rzicznek, Roger Sheffer, and Ian Williams.
Including my poem, there's a total of seven in the whole issue. I didn't realize how selective they were. No offense to Gulf Coast (which I do like) and some other journal monstrosities (which certainly isn't a bad thing), but it's nice sometimes to get a journal that doesn't include what seems like hundreds of poems.
*
I watched the movie Keith a few days ago because it's my first name.
Also, it's based on a story by Ron Carlson.
The movie was not very good.
The story was worse, and clearly needed to be longer for any semblance of truthfulness.
I feel like the movie had a lot of potential, and some of the acting was decent. But the music was horrible, overly high-school-esque and emotive (but probably not worse than the Seven Pounds score), and I just had a hard time believing so much about it. That's OK with Total Recall, but not with a movie that claims to be a love story.
My poem is the first I've ever published—in addition to the first time I think I've ever included it in a poem—with the word "fucking." For how much I seem to swear in real life (which is certainly a bad habit I need to kick), I try to stay away from such ugliness in poetry as far as words go. It's never really been a conscious decision, but now that I think about it, that's probably why.
Writers also include: Henry Combellick, Lightsey Darst, Donald Dunbar, Wendy Fox, Meredith Davies Hadaway, David Joiner, Daniely Menely, F. Daniel Rzicznek, Roger Sheffer, and Ian Williams.
Including my poem, there's a total of seven in the whole issue. I didn't realize how selective they were. No offense to Gulf Coast (which I do like) and some other journal monstrosities (which certainly isn't a bad thing), but it's nice sometimes to get a journal that doesn't include what seems like hundreds of poems.
*
I watched the movie Keith a few days ago because it's my first name.
Also, it's based on a story by Ron Carlson.
The movie was not very good.
The story was worse, and clearly needed to be longer for any semblance of truthfulness.
I feel like the movie had a lot of potential, and some of the acting was decent. But the music was horrible, overly high-school-esque and emotive (but probably not worse than the Seven Pounds score), and I just had a hard time believing so much about it. That's OK with Total Recall, but not with a movie that claims to be a love story.
Friday, November 28, 2008
Post-Thanksgiving
Though Jess and I didn't get to see our respective families for Thanksgiving, we had a great time with everyone at Nick and Allegra's, and we are grateful they invited us for what may be our last Richmond Thanksgiving ever. Lots of good food, amazing bourbon chocolate pie and cheesecake for dessert, and many kinds of booze and adult beverages.
It was a pretty awesome evening.
*
Just got my contributor copies of American Literary Review, and it looks great and, I say this too often, has a great line-up of folks. They didn't update their website yet, but not only are future first book interviewees Jericho Brown and the omnipresent Seth Abramson in the issue, there's also Dana Curtis, Rachel Dilworth, Patrick Carrington, B.H. Fairchild, Richard Lyons, Jennifer Percy, David Wagoner, and Charles Wyatt, among others.
When I first got to VCU and was learning how to submit and buying subscriptions to magazines and journals, American Literary Review was one that blew me away. I thought it would take me many many submissions to get in, and somehow miraculously, it didn't. It's also one of my favorite poems of mine, so that makes it even better when the contributor copies arrive with such poems.
*
A few days ago there was a chicken-scratched makeshift letter attached to the door of our apartment building. Jess and I have been making fun of it since then. When I went down to get the mail, I found someone had thrown it away, and it's too good not to share here:
Hi—
I live in Kensington Court (the big building across Shepherd) and a friend of mine is mailing me a very important package. However, she got my address wrong and put 3000 — — instead of 2900. She needs me to feed her birds so they don't starve to death while she is gone, so it's very important that I receive this package. My number is — — —. Please text me or call me and let me know when you get it. I will be at work for the rest of the day, but I will get back to you if you contact me. I get off work at 11:15 pm. This very urgent. Please help! Thank you!
Happy Thanksgiving!
— —
*
Seriously? What the hell are those birds eating? Saffron and gold only from gold panning?
Anyway, I would've been nice enough to go ahead and text the guy or call him, but unless someone else did it in the building — and I think almost everyone's gone for the holidays — the package never arrived.
A day after it was still duct-taped to the door, someone put WTF? on the bottom in black magic marker.
*
After years of wanting to watch the Stanley Kubrick documentary A Life in the Pictures that's always included in the now-always-revised-and-more-expensive-version of the box set, I finally got around to it, and at the very least it makes me want to write.
Kubrick was the opposite of the perpetually seemingly cocaine-snorting and if-not-filming-always-editing Rainer Werner Fassbinder. Though they're both legitimately heralded directors, I think it was interesting that Kubrick always wanted to be faster than he was. I think the cinema's better for how painstaking and beautiful his movies are, but I can see where he's coming from. And he seemed like a pretty warm and caring guy amidst the bearded exterior, always trying to get the most of his actors while always saying some pretty brilliant things. The kind of guy that seemed to make everyone smarter around him because of his work ethic and always striving to learn more and create better and more lasting images and films.
It's around two and a half hours, but it didn't feel like it at all, and I'd suggest seeing it, even if you're not a Kubrick fan, though I don't understand people who would say they are not.
It was a pretty awesome evening.
*
Just got my contributor copies of American Literary Review, and it looks great and, I say this too often, has a great line-up of folks. They didn't update their website yet, but not only are future first book interviewees Jericho Brown and the omnipresent Seth Abramson in the issue, there's also Dana Curtis, Rachel Dilworth, Patrick Carrington, B.H. Fairchild, Richard Lyons, Jennifer Percy, David Wagoner, and Charles Wyatt, among others.
When I first got to VCU and was learning how to submit and buying subscriptions to magazines and journals, American Literary Review was one that blew me away. I thought it would take me many many submissions to get in, and somehow miraculously, it didn't. It's also one of my favorite poems of mine, so that makes it even better when the contributor copies arrive with such poems.*
A few days ago there was a chicken-scratched makeshift letter attached to the door of our apartment building. Jess and I have been making fun of it since then. When I went down to get the mail, I found someone had thrown it away, and it's too good not to share here:
Hi—
I live in Kensington Court (the big building across Shepherd) and a friend of mine is mailing me a very important package. However, she got my address wrong and put 3000 — — instead of 2900. She needs me to feed her birds so they don't starve to death while she is gone, so it's very important that I receive this package. My number is — — —. Please text me or call me and let me know when you get it. I will be at work for the rest of the day, but I will get back to you if you contact me. I get off work at 11:15 pm. This very urgent. Please help! Thank you!
Happy Thanksgiving!
— —
*
Seriously? What the hell are those birds eating? Saffron and gold only from gold panning?
Anyway, I would've been nice enough to go ahead and text the guy or call him, but unless someone else did it in the building — and I think almost everyone's gone for the holidays — the package never arrived.
A day after it was still duct-taped to the door, someone put WTF? on the bottom in black magic marker.
*
After years of wanting to watch the Stanley Kubrick documentary A Life in the Pictures that's always included in the now-always-revised-and-more-expensive-version of the box set, I finally got around to it, and at the very least it makes me want to write.
Kubrick was the opposite of the perpetually seemingly cocaine-snorting and if-not-filming-always-editing Rainer Werner Fassbinder. Though they're both legitimately heralded directors, I think it was interesting that Kubrick always wanted to be faster than he was. I think the cinema's better for how painstaking and beautiful his movies are, but I can see where he's coming from. And he seemed like a pretty warm and caring guy amidst the bearded exterior, always trying to get the most of his actors while always saying some pretty brilliant things. The kind of guy that seemed to make everyone smarter around him because of his work ethic and always striving to learn more and create better and more lasting images and films.
It's around two and a half hours, but it didn't feel like it at all, and I'd suggest seeing it, even if you're not a Kubrick fan, though I don't understand people who would say they are not.
Saturday, August 30, 2008
Bachelor Weekend
Clearly I am not a bachelor anymore and -- somehow fortuitously -- haven't been in a long time. But my brothers and I use the term "bachelor weekend" when our respective significant others are out of town.
Jess is out of a town for a whole week. She left this morning. She's be taking some much needed time off (I can't wait when she's applying for jobs wherever we are next year, again contingent on someone wanting me to go to their school for a Ph.D, since people will be all about hiring her wherever she applies -- she's a complete Physician Assistant badass), in addition to hopefully locking up some wedding spots, dates for both the church and the reception. I'll be trying to get a lot done this week.
*
Finally received the new Fugue (though the new issue is not yet on the website) today. I don't say that with any bitterness, even though I think some contributors were a bit confused about why it took so long. Apparently, by way of a few emails from the editor, there were some production problems, and then the boxes got delivered to the wrong city. So it was a seemingly circuitous route, literally, the path the journals took to finally get here. But again, I didn't mind the wait.
And it was worth it. Brian Barker (who's already has done a first book interview and will be an official part of its continuation imminently) and his wife, amazing poet (somehow, almost laughably without a book right now -- seriously, check her work out, it's amazing) Nicky Beer (also a recent Ruth Lilly fellowship winner) are contributors, along with Mark Halliday, K.A. Hays, Richard Garcia, and many others.
I love the cover. It's my favorite cover of any journal I've seen in a while. There's just something haunting about it, and I love the dark blue along with the lighter yellow brushstrokes in the middle. I'd paint our whole apartment black if I could. I'm not a big fan of light. But I was never a goth kid in High School, I swear.
I suppose also what makes me love this issue is that includes on of my favorite poems of mine, one of the few favorites: "Poem Ending with a Hundred Year-Old House on Fire." So thank you to Fugue and all the editors. It's a great issue, and they're easily a journal I will continue submitting to in the future.
*
Other good things, or rather another good thing, is that I found out ABOUT RAVISHMENT (which is now GHOST LIGHTS) was a finalist in the Crab Orchard Series in Poetry First Book Award for the second year in a row. I love love love Crab Orchard, both the journal and their books, and since I've placed three times in three submissions to their contests, I'm just very happy that they're fans of the manuscript. I'll be sending to Crab Orchard until (if and when) this manuscript gets picked up for every single contest they have. Even if I never win one of their contests, I feel great about giving the contest money to a press that I really and truly believe in and back wholeheartedly.
*
Ah, the NFL season is starting. For those of you who don't really know me, I'm a New York Giants fan. A pretty die-hard Giants fan. (Yes I was born in Western Pennsylvania. No I don't like the Steelers. I pretty much hate the Steelers.) But I currently live in Richmond. It's pretty much Washington Redskins country. Most of my students are and have been Redskins fans (and to one student who said, "She-li? Come on..." the other day, I responded, "Yeah, beating the 18-0 Patriots to become Super Bowl Champions really isn't a big deal..."). I'm surrounded by everything Redskins.
This Thursday. The First Game Of The Season. We Play The Redskins.
I'm psyched. At 6:00 P.M. ET today the final cuts will be made.
So, far, by the count of the New York Giants blog, here's the roster:
Jess is out of a town for a whole week. She left this morning. She's be taking some much needed time off (I can't wait when she's applying for jobs wherever we are next year, again contingent on someone wanting me to go to their school for a Ph.D, since people will be all about hiring her wherever she applies -- she's a complete Physician Assistant badass), in addition to hopefully locking up some wedding spots, dates for both the church and the reception. I'll be trying to get a lot done this week.
*
Finally received the new Fugue (though the new issue is not yet on the website) today. I don't say that with any bitterness, even though I think some contributors were a bit confused about why it took so long. Apparently, by way of a few emails from the editor, there were some production problems, and then the boxes got delivered to the wrong city. So it was a seemingly circuitous route, literally, the path the journals took to finally get here. But again, I didn't mind the wait.
And it was worth it. Brian Barker (who's already has done a first book interview and will be an official part of its continuation imminently) and his wife, amazing poet (somehow, almost laughably without a book right now -- seriously, check her work out, it's amazing) Nicky Beer (also a recent Ruth Lilly fellowship winner) are contributors, along with Mark Halliday, K.A. Hays, Richard Garcia, and many others.
I love the cover. It's my favorite cover of any journal I've seen in a while. There's just something haunting about it, and I love the dark blue along with the lighter yellow brushstrokes in the middle. I'd paint our whole apartment black if I could. I'm not a big fan of light. But I was never a goth kid in High School, I swear.
I suppose also what makes me love this issue is that includes on of my favorite poems of mine, one of the few favorites: "Poem Ending with a Hundred Year-Old House on Fire." So thank you to Fugue and all the editors. It's a great issue, and they're easily a journal I will continue submitting to in the future.
*
Other good things, or rather another good thing, is that I found out ABOUT RAVISHMENT (which is now GHOST LIGHTS) was a finalist in the Crab Orchard Series in Poetry First Book Award for the second year in a row. I love love love Crab Orchard, both the journal and their books, and since I've placed three times in three submissions to their contests, I'm just very happy that they're fans of the manuscript. I'll be sending to Crab Orchard until (if and when) this manuscript gets picked up for every single contest they have. Even if I never win one of their contests, I feel great about giving the contest money to a press that I really and truly believe in and back wholeheartedly.
*
Ah, the NFL season is starting. For those of you who don't really know me, I'm a New York Giants fan. A pretty die-hard Giants fan. (Yes I was born in Western Pennsylvania. No I don't like the Steelers. I pretty much hate the Steelers.) But I currently live in Richmond. It's pretty much Washington Redskins country. Most of my students are and have been Redskins fans (and to one student who said, "She-li? Come on..." the other day, I responded, "Yeah, beating the 18-0 Patriots to become Super Bowl Champions really isn't a big deal..."). I'm surrounded by everything Redskins.
This Thursday. The First Game Of The Season. We Play The Redskins.
I'm psyched. At 6:00 P.M. ET today the final cuts will be made.
So, far, by the count of the New York Giants blog, here's the roster:
QB (2): Eli Manning, David Carr
RB (6): Brandon Jacobs, Ahmad Bradshaw, Derrick Ward, Danny Ware, Reuben Droughns, Madison Hedgecock
WR (6): Plaxico Burress, Amani Toomer, Steve Smith, Mario Manningham, Domenik Hixon, Sinorice Moss
TE (3): Kevin Boss, Michael Matthews, Darcy Johnson
OL (9): David Diehl, Rich Seubert, Shaun O'Hara, Chris Snee, Kareem McKenzie, Guy Whimper, Adam Koets, Kevin Boothe, Grey Ruegamer
DE (4): Justin Tuck, Mathias Kiwanuka, Dave Tollefson, Renaldo Wynn
DT (4): Fred Robbins, Barry Cofield, Jay Alford, Rodney Leisle
LB (7): Antonio Pierce, Danny Clark, Gerris Wilkinson, Chase Blackburn, Bryan Kehl, Zak DeOssie, Jonathan Goff
CB (6): Aaron Ross, Corey Webster, Kevin Dockery, R.W. McQuarters, Sam Madison, Terrell Thomas
S (4): James Butler, Michael Johnson, Kenny Phillips, Sammy Knight
K (2): Lawrence Tynes, John Carney
P (1): Jeff Feagles
I'm very happy with the roster (and if Tynes can't go, Carney's fine with me -- as long as it's not Josh Huston, who, thankfully, has been cut), though I'm not sure about not having a third quarterback in the mix. Let's hope Eli can continue his role at staying healthy, not mention hopefully continuing in the regular season the amazing numbers he put up in the playoffs and Super Bowl.
*
Is anyone else taking up the task of their Favorite 100 Movies list? Any bloggers? Anyone? Mine is coming along. It seems monumental to take up the task, but then once you have 100, it begins to narrow, and you start to question things. Can I watch this in any mood? How many times have I seen this? Does that matter versus movies I have only seen a few times? So many questions. So many movies. So many decisions.
I'm pretty sure I'll be taking a lot of shit for my list. There are so many "classics" I haven't seen. But not only was I born in 1981, I'm still going for balls-to-the-wall, the Apocalyptic List, whatever that may mean, even if it's a movie no one's heard of (but not pretentiously and forcefully so, as one may possibly assume by such a comment). Yes, folks can fill their lists with Truffaut, Wilder, Hitchcock, Godard, Bergman, and I'll have some gems listed by some of those amazing directors, but I'll also have some movies that have ripped open my stomach and pulled out my heart and showed it to me while I was trying to gasp for breath but could not. Not every movie will be like that, of course, but there will be many on the list as such.
*
Cheers to everyone having a great long weekend...
Tuesday, August 26, 2008
Rumi Nation
I'm not really responding to this post by Nick Courtright directly, but it's certainly worth reading, and I suppose has to do somewhat with the semblance of a post I'm writing now.
Because yes, folks, it's that time again. Submission time.
I feel like I have about 6 poems ready to be out in the world. Usually my date is October 31st for the fall. With the exception of very few journals, that's usually a safe date to get your work out there. That said, I started thinking about waiting, and it seemed a bit ridiculous, especially when I have a batch that I think is ready to go out. And many journals are reading starting September 1st. Agni, Bat City Review, Puerto del Sol, and West Branch are even switching to online submission systems (the infamous Devin Emke one that everyone is using, if they're not just accepting .doc or .rtf files via email), which is great, and which I just found out yesterday. I imagine that trend probably helps journals get more and more shitty work that isn't even close to publishable ("It's free, why not?"), but then again, it probably encourages folks who are writing good stuff to go ahead instead of being lazy, which we can all be, especially since stuffing envelopes isn't the most fun thing out there.
When I send stuff out I'm always inspired to write new stuff. I may still be tinkering with them... oh no, did I just say that? "How dare you send stuff out and still work on the poems." Pretty sure everyone does it, so I got over that a while ago, especially if you're just tinkering with the mostly meaningless things. If you're changing whole stanzas or endings, maybe you shouldn't be sending your work out.
And yes, who knows if anyone will ever want "Ghost Lights," but as I said, 37 of the 39 poems are published, which means at the very least, those aren't going out anymore. It may be a fat stack of papers as just a manuscript, sitting in my desk forever or as a file on my computer, but at least I don't have to make batches of poems that have already been rejected by many places. I should mention that I don't give up on my work either, as far as trying to publish. My thing is if it's a good poem, it'll find a home. If you want to give up on your work or be lazy, that leaves more room for my work. No, I'm not obsessed with publishing. Yes, when poems are ready to go out, I send them out. Make of that what you will.
See the posts below about Stacey Lynn Brown's debacle with her book, which has also spurred many of us to really consider all the issues, especially those of us with first books we're "shopping around," since that's essentially what we're all doing by sending to contests. Open reading periods? Starting your own presses? Reb has a good response to everything (post on 8/25/08), full of thoughtful things to say, from someone who has a lot of experience on where she's coming from. But then again, I wonder why Cider Press Review even started, how and why. Maybe they felt the same way, but decided to do a fair contest system, or something like that. Who knows?
Either way, there's been a lot to think about lately with people finding out about this. Maybe it'll die its little poetry death soon enough, but I hope people are paying attention, as much as they can, for reasons I'm not sure of yet.
I don't really know where this post was meant to go, but I don't really feel like deleting it. So be it.
Because yes, folks, it's that time again. Submission time.
I feel like I have about 6 poems ready to be out in the world. Usually my date is October 31st for the fall. With the exception of very few journals, that's usually a safe date to get your work out there. That said, I started thinking about waiting, and it seemed a bit ridiculous, especially when I have a batch that I think is ready to go out. And many journals are reading starting September 1st. Agni, Bat City Review, Puerto del Sol, and West Branch are even switching to online submission systems (the infamous Devin Emke one that everyone is using, if they're not just accepting .doc or .rtf files via email), which is great, and which I just found out yesterday. I imagine that trend probably helps journals get more and more shitty work that isn't even close to publishable ("It's free, why not?"), but then again, it probably encourages folks who are writing good stuff to go ahead instead of being lazy, which we can all be, especially since stuffing envelopes isn't the most fun thing out there.
When I send stuff out I'm always inspired to write new stuff. I may still be tinkering with them... oh no, did I just say that? "How dare you send stuff out and still work on the poems." Pretty sure everyone does it, so I got over that a while ago, especially if you're just tinkering with the mostly meaningless things. If you're changing whole stanzas or endings, maybe you shouldn't be sending your work out.
And yes, who knows if anyone will ever want "Ghost Lights," but as I said, 37 of the 39 poems are published, which means at the very least, those aren't going out anymore. It may be a fat stack of papers as just a manuscript, sitting in my desk forever or as a file on my computer, but at least I don't have to make batches of poems that have already been rejected by many places. I should mention that I don't give up on my work either, as far as trying to publish. My thing is if it's a good poem, it'll find a home. If you want to give up on your work or be lazy, that leaves more room for my work. No, I'm not obsessed with publishing. Yes, when poems are ready to go out, I send them out. Make of that what you will.
See the posts below about Stacey Lynn Brown's debacle with her book, which has also spurred many of us to really consider all the issues, especially those of us with first books we're "shopping around," since that's essentially what we're all doing by sending to contests. Open reading periods? Starting your own presses? Reb has a good response to everything (post on 8/25/08), full of thoughtful things to say, from someone who has a lot of experience on where she's coming from. But then again, I wonder why Cider Press Review even started, how and why. Maybe they felt the same way, but decided to do a fair contest system, or something like that. Who knows?
Either way, there's been a lot to think about lately with people finding out about this. Maybe it'll die its little poetry death soon enough, but I hope people are paying attention, as much as they can, for reasons I'm not sure of yet.
I don't really know where this post was meant to go, but I don't really feel like deleting it. So be it.
Wednesday, July 9, 2008
The Rain in Spain
Thanks again to Jake Adam York and company at Copper Nickel for taking my poem, "Alternate Featurette, T
he People Under the Stairs." All these AF acceptances happened pretty quickly, so it's nice I won't have to send these out anymore (though my favorite of the batch still hasn't been accepted, and might never be), not to mention that yes, I do have some more faith in them. But I could always get disillusioned sometime in the future again.
And not only am I huge fan of Jake's work, but he's also been an editor who has supported my work from when I first started sending out about three years ago. I really like what Copper Nickel's done in the past, and in just a few years they've turned into something pretty great, so it'll be nice to be a part of another future issue.
he People Under the Stairs." All these AF acceptances happened pretty quickly, so it's nice I won't have to send these out anymore (though my favorite of the batch still hasn't been accepted, and might never be), not to mention that yes, I do have some more faith in them. But I could always get disillusioned sometime in the future again.And not only am I huge fan of Jake's work, but he's also been an editor who has supported my work from when I first started sending out about three years ago. I really like what Copper Nickel's done in the past, and in just a few years they've turned into something pretty great, so it'll be nice to be a part of another future issue.
Tuesday, July 8, 2008
Issues
Thanks to Jamison, Zach and company at Sonora Review for taking my poem, "Alternate Featurette, Little Monsters."
My excite
ment is heightened by the fact that I love Sonora Review, Little Monsters is one of my favorite films of all time that no one's ever seen, and this is the second poem of the AF batch in the last few days that's been accepted. I hope it keeps up, because I'm always shifting these poems in my manuscript, taking them out, putting them back in, wondering if they belong in it at all etc. This gives me some faith that they belong there. But maybe they don't. Who knows?
*
Speaking of movies, The Happening is one of the worst pieces of garbage I've ever seen. I think he played a joke on everyone. Unless he intended it to be a MST3K-like bullshit facade of a movie, I don't understand how there could've been that many bad lines, that much horrendous acting, that many characters that don't have any purpose in being in certain scenes except wasting time and making the m
ovie close to 90 minutes. Some of the forced and unnecessarily direct violence, especially against younger kids, seems like M. Night needs to seek some help. There's more to its horrendous nature than meets the eye. There has to be. But if you're going to see it, download it. Don't waste a spot in your Netflix queue or pay cash in any way to see it.
Also, am I the only one who hasn't given up on Kevin Bacon (who I think turned 50 today)? Is there a reason why he's still making movies? I like Alison Eastwood in Midnight in the Garden of Good and Evil, so
I thought she may have a decent shot at directing a melodrama. I like Douglas Sirk at his melodramtic best, so why wouldn't Rails & Ties be at least decent? Well, the acting's pretty much no good across the board -- the kid especially -- the scenes are expected, and it really should've been made into a Lifetime movie. I really need to pay attention to the reviews more. It pretty much blows is what I'm trying to say should you not have been clued in thus far.
And though it was a boot (washed out and pixelated colors, though the sound was great), I checked out Wall*E too, and I liked it a lot. Should it be in the IMDB top 250 films? Of course not. And it's not as good as some of the other Pixar stuff, which I'm certainly a fan of, but it's more of a feast for the senses than the others, maybe even more than Ratatouille. Thomas Newman's score, though, as always, is incredible. I think he's easily the best musician scoring films these days. The score for The Shawshank Redemption (also one of the best movies ever made) is something I still listen to frequently, and so many others tried to copy his style after that. But Wall*E's worth seeing. It's kind of spastic and weird at some points, and reaches too hard to get the kids into it, when it's clearly more of -- though lighter-hearted -- an adult-oriented film, but it's good, and it'll be nice to see it when it's actually released on DVD.
*
It was cool to see the more no-name (another way to put it?) cast of The Office kick ass tonight on Celebrit
y Family Fued. And they were playing for a foundation in Scranton. My brother used to live across from Al Roker's brownstone in NYC. He saw him doing dishes a lot. And when his kid was born there were balloons and celebratory baby things on the front porch. I think that was before his surgery.
*
I was disappointed that Christina won Hell's Kitchen tonight. I understand why I suppose, with Petrozza
being 47 and G.R. thinking longterm with the executive chef deal. But I've been for Petrozza from the beginning, so it was kind of a bummer. Then I realized that I was standing up when they were at both doors ready to turn the handles. And I questioned what I was doing with my life. Not really. I loved every minute of it, so screw you.
My excite
ment is heightened by the fact that I love Sonora Review, Little Monsters is one of my favorite films of all time that no one's ever seen, and this is the second poem of the AF batch in the last few days that's been accepted. I hope it keeps up, because I'm always shifting these poems in my manuscript, taking them out, putting them back in, wondering if they belong in it at all etc. This gives me some faith that they belong there. But maybe they don't. Who knows?*
Speaking of movies, The Happening is one of the worst pieces of garbage I've ever seen. I think he played a joke on everyone. Unless he intended it to be a MST3K-like bullshit facade of a movie, I don't understand how there could've been that many bad lines, that much horrendous acting, that many characters that don't have any purpose in being in certain scenes except wasting time and making the m
ovie close to 90 minutes. Some of the forced and unnecessarily direct violence, especially against younger kids, seems like M. Night needs to seek some help. There's more to its horrendous nature than meets the eye. There has to be. But if you're going to see it, download it. Don't waste a spot in your Netflix queue or pay cash in any way to see it.Also, am I the only one who hasn't given up on Kevin Bacon (who I think turned 50 today)? Is there a reason why he's still making movies? I like Alison Eastwood in Midnight in the Garden of Good and Evil, so
I thought she may have a decent shot at directing a melodrama. I like Douglas Sirk at his melodramtic best, so why wouldn't Rails & Ties be at least decent? Well, the acting's pretty much no good across the board -- the kid especially -- the scenes are expected, and it really should've been made into a Lifetime movie. I really need to pay attention to the reviews more. It pretty much blows is what I'm trying to say should you not have been clued in thus far.And though it was a boot (washed out and pixelated colors, though the sound was great), I checked out Wall*E too, and I liked it a lot. Should it be in the IMDB top 250 films? Of course not. And it's not as good as some of the other Pixar stuff, which I'm certainly a fan of, but it's more of a feast for the senses than the others, maybe even more than Ratatouille. Thomas Newman's score, though, as always, is incredible. I think he's easily the best musician scoring films these days. The score for The Shawshank Redemption (also one of the best movies ever made) is something I still listen to frequently, and so many others tried to copy his style after that. But Wall*E's worth seeing. It's kind of spastic and weird at some points, and reaches too hard to get the kids into it, when it's clearly more of -- though lighter-hearted -- an adult-oriented film, but it's good, and it'll be nice to see it when it's actually released on DVD.
*
It was cool to see the more no-name (another way to put it?) cast of The Office kick ass tonight on Celebrit
y Family Fued. And they were playing for a foundation in Scranton. My brother used to live across from Al Roker's brownstone in NYC. He saw him doing dishes a lot. And when his kid was born there were balloons and celebratory baby things on the front porch. I think that was before his surgery.*
I was disappointed that Christina won Hell's Kitchen tonight. I understand why I suppose, with Petrozza
being 47 and G.R. thinking longterm with the executive chef deal. But I've been for Petrozza from the beginning, so it was kind of a bummer. Then I realized that I was standing up when they were at both doors ready to turn the handles. And I questioned what I was doing with my life. Not really. I loved every minute of it, so screw you.
Monday, July 7, 2008
July's Already Flying
Thanks to Jay, Mary and the rest of the folks at Barn Owl Review for taking my poem, "Alternate Featurette, Keane." I worked on a kind of series of poems, what I call ekphrastic film (ekphracinema?) poems, a few months ago and beyond. I've seen poems about films in the past, and the questions in my mind was always, "If I haven't seen it, will this make sense?" I wasn't really worrying too much about my audience while writing these, though, as I didn't want to enter any kind of paralysis, so I just went for it. And I like how they turned out. And if you haven't seen Lodge Kerrigan's films, you should.
There are still some out there that I like that no one's taken, but I have faith in them, so they'll keep going out. The first issue of BOR had a ton of great contributors and an awesome cover. From the updated list of contributors it looks like I'm going to be in the company of many talented folks, and that's also my first acceptance for a 2009 publication.
*
Just got my contributor copies of Fourteen Hills in the mail today. The cover's white with a ton of space on it, with a piece from the featured artist Vanessa Hampton overlapping the binding centered left. Lots of good stuff in here, with work by Lance Larsen, Matthew Zapruder, Daniel Coudriet, Onna Solomon, Randall Mann, Derek White, Rebecca Foust, and others. It's always a handsomely designed journal, and this one is no exception, so pick yourself up a copy.
*
The VA Beach trip was a great time, minus the traffic there and back, what the folks in the know call the "tunnel traffic." But thankfully we were coming from and going back to Richmond, instead of Charlottesville or places beyond. There were also a lot of PA license plates and tons of families within many of the cars. I can imagine all the restless kids in mini-vans. Yikesville. Thanks to Tim and Stenia for hosting us. They have a great place about 12 blocks from the beach. We sat on the beach and watched the fireworks on the 4th, which is something I've never done. We ate hardshell Jimmies at a place by the water called Bubba's, got some beach time in, and drank a lot of beer. I was up till about 5 in the morning every night, mostly playing Wii Bowling. I don't take my vacations lightly. After the weekend before with Corey and Sarah visiting us, and last weekend visiting Tim and Stenia, I'm going to try my best to detox for two weeks, and also not eat out. I may stick to iceberg lettuce and water. I wish I could at least.
*
Seth Abramson, in his always-meticulous way, breaks down, kind of, some percentages and such with smaller presses, first book contests, open reading periods, etc. on his blog. It's interesting stuff, and everyone should thank him for taking the time. But always with opinions and research, there's going to be some backlash, with some presses responding in his comments field. I understand contents and reading fees, so I have no problem there. I imagine it's hard for even the bigger publishing houses to make money to keep pressing poetry books. I didn't really learn anything I didn't know already, but again, it's interesting to see some of the breakdowns.
*
About an hour ago when I was walking to school there was this mildly retarded guy walking toward me who stopped to ask me a question: "Do you know where the copy machine is?" I was immediately taken aback, as I thought it was possibly an existential inquiry. The copy machine in the sky? God, known as "the copy machine"? Was he on his way to some warehouse to try and get cloned? Then he said, "I'm sorry, not the copy machine, the copy shop on Main." I thought I knew what he was talking about, so I tried to lead him there. Then, as soon as I turned around and saw him walking, I didn't know where the hell I had led him. I'm horrendous with where I am in space. I hope he got to where he needed to go.
*
A student just left my office, and I don't think I helped her at all. She closes her eyes and looks away when she's talking. And when I talk to her she just stares at me. I don't know if she has some kind of disability or what, but it's hard for me to help her. It's a situation I've never really been in before, this kind of interaction. At one point I was talking for five straight minutes. Then she said, "OK, thanks," and walked out of my office. I'm not sure what else I can do, and I hate those odd situations where I feel helpless and possibly useless.
*
All this talk of Kate Greenstreet's first book interviews has gotten me wanting to continue the project. I emailed Kate a few days ago, but haven't heard a response from her. There are so many poets whose books are coming out that I want to buy, not to mention friends, that I'd love to talk to. I just think it's such a beneficial project in so many ways. I suppose if she doesn't want to continue it through her website (I asked her if I could do all the emailing and copy-editing and whatnot and she could just post the finish products), I'm going to start an additional blog with new interviews. The people want to know. And I want to give them that information.
There are still some out there that I like that no one's taken, but I have faith in them, so they'll keep going out. The first issue of BOR had a ton of great contributors and an awesome cover. From the updated list of contributors it looks like I'm going to be in the company of many talented folks, and that's also my first acceptance for a 2009 publication.
*
Just got my contributor copies of Fourteen Hills in the mail today. The cover's white with a ton of space on it, with a piece from the featured artist Vanessa Hampton overlapping the binding centered left. Lots of good stuff in here, with work by Lance Larsen, Matthew Zapruder, Daniel Coudriet, Onna Solomon, Randall Mann, Derek White, Rebecca Foust, and others. It's always a handsomely designed journal, and this one is no exception, so pick yourself up a copy.
*
The VA Beach trip was a great time, minus the traffic there and back, what the folks in the know call the "tunnel traffic." But thankfully we were coming from and going back to Richmond, instead of Charlottesville or places beyond. There were also a lot of PA license plates and tons of families within many of the cars. I can imagine all the restless kids in mini-vans. Yikesville. Thanks to Tim and Stenia for hosting us. They have a great place about 12 blocks from the beach. We sat on the beach and watched the fireworks on the 4th, which is something I've never done. We ate hardshell Jimmies at a place by the water called Bubba's, got some beach time in, and drank a lot of beer. I was up till about 5 in the morning every night, mostly playing Wii Bowling. I don't take my vacations lightly. After the weekend before with Corey and Sarah visiting us, and last weekend visiting Tim and Stenia, I'm going to try my best to detox for two weeks, and also not eat out. I may stick to iceberg lettuce and water. I wish I could at least.
*
Seth Abramson, in his always-meticulous way, breaks down, kind of, some percentages and such with smaller presses, first book contests, open reading periods, etc. on his blog. It's interesting stuff, and everyone should thank him for taking the time. But always with opinions and research, there's going to be some backlash, with some presses responding in his comments field. I understand contents and reading fees, so I have no problem there. I imagine it's hard for even the bigger publishing houses to make money to keep pressing poetry books. I didn't really learn anything I didn't know already, but again, it's interesting to see some of the breakdowns.
*
About an hour ago when I was walking to school there was this mildly retarded guy walking toward me who stopped to ask me a question: "Do you know where the copy machine is?" I was immediately taken aback, as I thought it was possibly an existential inquiry. The copy machine in the sky? God, known as "the copy machine"? Was he on his way to some warehouse to try and get cloned? Then he said, "I'm sorry, not the copy machine, the copy shop on Main." I thought I knew what he was talking about, so I tried to lead him there. Then, as soon as I turned around and saw him walking, I didn't know where the hell I had led him. I'm horrendous with where I am in space. I hope he got to where he needed to go.
*
A student just left my office, and I don't think I helped her at all. She closes her eyes and looks away when she's talking. And when I talk to her she just stares at me. I don't know if she has some kind of disability or what, but it's hard for me to help her. It's a situation I've never really been in before, this kind of interaction. At one point I was talking for five straight minutes. Then she said, "OK, thanks," and walked out of my office. I'm not sure what else I can do, and I hate those odd situations where I feel helpless and possibly useless.
*
All this talk of Kate Greenstreet's first book interviews has gotten me wanting to continue the project. I emailed Kate a few days ago, but haven't heard a response from her. There are so many poets whose books are coming out that I want to buy, not to mention friends, that I'd love to talk to. I just think it's such a beneficial project in so many ways. I suppose if she doesn't want to continue it through her website (I asked her if I could do all the emailing and copy-editing and whatnot and she could just post the finish products), I'm going to start an additional blog with new interviews. The people want to know. And I want to give them that information.
Thursday, June 19, 2008
Thursdayness
More documentaries, apparently, always.
NEW YORK DOLL was pretty incredible, but I'm not sure if I'd want to watch it again. But I didn't know much about the New York Dolls, and it was interesting to kind of see a biopic in less than 1:30, though alas, there's a tragedy like there seemingly always is in every good documentary.
WESLEY WILLIS: THE DADDY OF ROCK 'N ROLL was a weird and gritty experience. Like I LIKE KILLING FLIES, the camera work was a bit jarring and lo-fi. I got over it pretty quickly. I didn't realize Wesley passed away in 2003, so that was news right before I saw this. There are some hilarious parts, like some recording sessions, and Wesley at Kinko's writing lyrics like "Suck a cheetah's dick with a bottle of Heinz ketchup." At one point, when they were playing some of his music in the background, Jess was out on the porch and said, "What the hell is that?" upon hearing, "Never kill an apeeee...!" It gives you the inherent Wesley Willis experience, and it's only about an hour long, so it's definitely worth seeing.
Blowing me away recently, though, was HOW TO DRAW A BUNNY. I didn't know anything about Ray Johnson before I saw it, and in a way I'm glad I didn't. The dude was undoubtedly a brilliant and committed artist, and the filmmakers do an amazing job splicing interviews with actual collages and artwork. Some is mind-blowingly bizarre and beautiful. I won't ruin the premise and the why's of the film, but I'm probably going to buy it soon. There's a commentary and some other stuff. But it was a project of love for the filmmakers, so it seems, and the life of Ray Johnson is inspiring, but in some ways hard to wrap your mind around, which is some of the point I think.
*
In the poetry department, I just got my contributor copies of Faultline. Not really to my surprise, I'm in another journal with friend and former VCU MFAer Jonathan Rice, who's been winning contest after contest for his poems. After reading much of the poetry, I'm kind of surprised they ended up taking my two poems. Most of the work seems highly experimental, and my poems are anything but.
But there's some interesting work in there, some nice-looking full color artwork (there's so much artwork in journals these days that I wouldn't mind hanging on my wall). On the cover and interspersed within the pages are cool little minimalist cartoons.
I'm pretty thrilled they took some work, as I always am with journals who are willing to spare the ink. It would've been nice to see Blake's piece, but he had a bit of an interesting and I suppose slightly annoying debacle with them. I think we're going to be in the next Lake Effect, though, so that's cool.
*
I also traded manuscripts with another friend and former VCU MFAer, Anna Journey. She's been a finalist in a few contests for her manuscript, and I wouldn't be surprised if any day now she's bringing the good news.
It was nice to see work we've both seen of each other's in workshop. I remember the first day we all turned in these awful poems, but they all were representative of our up and coming obsessions and thematics. Per a recent post, I think all of us (the 6 who came in together) wrote the poems we wanted to, and even if we weren't thrilled about the work all of us were writing, we were all supportive and tried to be helpful. Again, I'm very lucky, and I think we all were.
She pointed out some obvious things that previously I was stupidly tenacious about, but I think the kick in the ass spawned the drive into overhaul city. I completely rearranged my manuscript, put it back into three sections, cut some poems, and I think it's the best it's ever been. Here's to hopeful screeners and judges in the rest of 2008.
*
The new GIRL TALK record dropped today. Apparently Greg Gillis stole the name from one of the best Full House episodes. If you're in the know, you know. If not, then shame on you.
The record's dirty and full of hip hop and pop mash-up goodness. I think this is the record that's going to stop me from being a tight ass about, mostly, current pop music. After already a few listens (and I'll be the first to admit this kind of music isn't my first choice), I don't know why it took me so long to get into this shit. Plus there's a lot of melodic tracks from The Police, Tom Petty, Dexy's Midnight Runners, Carole King, The Beach Boys, Temple of the Dog, and about a minute through "Let me See You," some choice moments from perhaps my favorite song of all time, Fleetwood Mac's "Gypsy." All of it amidst older, current, and sometimes vulgar, culled hip hop lyrics.
It's going to be a great summer record. And it's fun as hell. I'm sorry it's taken me this long. I don't know if I'm apologizing to myself. I think I may be.
*
And fucking finally, Sean got two VIP tickets for THE NATIONAL on Sunday @ Richmond's Natioanal Theater. I live less than 3 miles from this place. In the words of Ari Gold: BOOM!
Last time I saw them was in Carrboro with Goss on October 21st, 2005. It's been a long time. I wish they'd play "Guest Room," but I'm not sure that's going to happen.
VIP, though? You serious, Clark?
Next destination: Psychesville.
NEW YORK DOLL was pretty incredible, but I'm not sure if I'd want to watch it again. But I didn't know much about the New York Dolls, and it was interesting to kind of see a biopic in less than 1:30, though alas, there's a tragedy like there seemingly always is in every good documentary.
WESLEY WILLIS: THE DADDY OF ROCK 'N ROLL was a weird and gritty experience. Like I LIKE KILLING FLIES, the camera work was a bit jarring and lo-fi. I got over it pretty quickly. I didn't realize Wesley passed away in 2003, so that was news right before I saw this. There are some hilarious parts, like some recording sessions, and Wesley at Kinko's writing lyrics like "Suck a cheetah's dick with a bottle of Heinz ketchup." At one point, when they were playing some of his music in the background, Jess was out on the porch and said, "What the hell is that?" upon hearing, "Never kill an apeeee...!" It gives you the inherent Wesley Willis experience, and it's only about an hour long, so it's definitely worth seeing.
Blowing me away recently, though, was HOW TO DRAW A BUNNY. I didn't know anything about Ray Johnson before I saw it, and in a way I'm glad I didn't. The dude was undoubtedly a brilliant and committed artist, and the filmmakers do an amazing job splicing interviews with actual collages and artwork. Some is mind-blowingly bizarre and beautiful. I won't ruin the premise and the why's of the film, but I'm probably going to buy it soon. There's a commentary and some other stuff. But it was a project of love for the filmmakers, so it seems, and the life of Ray Johnson is inspiring, but in some ways hard to wrap your mind around, which is some of the point I think.
*
In the poetry department, I just got my contributor copies of Faultline. Not really to my surprise, I'm in another journal with friend and former VCU MFAer Jonathan Rice, who's been winning contest after contest for his poems. After reading much of the poetry, I'm kind of surprised they ended up taking my two poems. Most of the work seems highly experimental, and my poems are anything but.
But there's some interesting work in there, some nice-looking full color artwork (there's so much artwork in journals these days that I wouldn't mind hanging on my wall). On the cover and interspersed within the pages are cool little minimalist cartoons.
I'm pretty thrilled they took some work, as I always am with journals who are willing to spare the ink. It would've been nice to see Blake's piece, but he had a bit of an interesting and I suppose slightly annoying debacle with them. I think we're going to be in the next Lake Effect, though, so that's cool.
*
I also traded manuscripts with another friend and former VCU MFAer, Anna Journey. She's been a finalist in a few contests for her manuscript, and I wouldn't be surprised if any day now she's bringing the good news.
It was nice to see work we've both seen of each other's in workshop. I remember the first day we all turned in these awful poems, but they all were representative of our up and coming obsessions and thematics. Per a recent post, I think all of us (the 6 who came in together) wrote the poems we wanted to, and even if we weren't thrilled about the work all of us were writing, we were all supportive and tried to be helpful. Again, I'm very lucky, and I think we all were.
She pointed out some obvious things that previously I was stupidly tenacious about, but I think the kick in the ass spawned the drive into overhaul city. I completely rearranged my manuscript, put it back into three sections, cut some poems, and I think it's the best it's ever been. Here's to hopeful screeners and judges in the rest of 2008.
*
The new GIRL TALK record dropped today. Apparently Greg Gillis stole the name from one of the best Full House episodes. If you're in the know, you know. If not, then shame on you.
The record's dirty and full of hip hop and pop mash-up goodness. I think this is the record that's going to stop me from being a tight ass about, mostly, current pop music. After already a few listens (and I'll be the first to admit this kind of music isn't my first choice), I don't know why it took me so long to get into this shit. Plus there's a lot of melodic tracks from The Police, Tom Petty, Dexy's Midnight Runners, Carole King, The Beach Boys, Temple of the Dog, and about a minute through "Let me See You," some choice moments from perhaps my favorite song of all time, Fleetwood Mac's "Gypsy." All of it amidst older, current, and sometimes vulgar, culled hip hop lyrics.
It's going to be a great summer record. And it's fun as hell. I'm sorry it's taken me this long. I don't know if I'm apologizing to myself. I think I may be.
*
And fucking finally, Sean got two VIP tickets for THE NATIONAL on Sunday @ Richmond's Natioanal Theater. I live less than 3 miles from this place. In the words of Ari Gold: BOOM!
Last time I saw them was in Carrboro with Goss on October 21st, 2005. It's been a long time. I wish they'd play "Guest Room," but I'm not sure that's going to happen.
VIP, though? You serious, Clark?
Next destination: Psychesville.
Friday, June 13, 2008
Notes Among
In the last month or so I got my contributor copies of Hayden's Ferry Review, Hunger Mountain, and Tusculum Review, and they all really impressed me a lot. I'm humbled and thrilled that the editors decided to take work, as I always am. There are a lot of journals that look great with not-the-best content, and shabby looking journals with amazing work. But sharp journals ALSO work reading -- and being included in that journal -- are the best. One thing I want to point out that I liked is Tusculum Review has a decent amount of poems where you have to turn the journal to landscape format: poems with very long lines that need the longer page. I really really love it because at this point there's no reason a journal should say, basically, "Make sure you don't send us long shit since we don't have much room." Get some more room, or turn it around. That's all that needs to take place, and I hope editors see this and realize it's a good way to do things. Now that I think about it, the recent Harpur Palate had a poem or two doing the same thing, and I've only seen this phenomenon recently. Writers with long lines or fragmentary poems shouldn't have to compromise their work and send it to certain journals. But hey, if they want to reject those writers for it, screw them, there are always enough places where you can send work.
*
More and more I'm thinking how Drew Carey hosting The Price Is Right is another weird sign of the oncoming apocalypse (not to mention all of the weather-induced unspeakable madness since Katrina, which seems to be indefatigable). When my brother was at KSU, and DC was just a KSU dropout, he came back for some event and hung out with them and a few beers after a party when they were all hungover. No one knew him then. He was a kind of weird looking, funny, fat guy. Now he's a famouse kind of weird-looking, funny, fat guy. But he just doesn't fit. I thought Bob Barker would host until he died.
*
The new Sigur Ros record is kind of boring. It's no TAKK in my opinion. The first two songs are great, but then it goes into coma-induced plodding, per usual. If you're going to start it anthematic, keep it that way. Otherwise people will be falling asleep at the wheel. Maybe that's just my relentless attitude.
*
I used to love Tony Hoagland's "Jet," and I think WHAT NARCISSISM TO ME is pretty good, though it's lost it's weight for me the last few years. Here are the first six lines:
Sometimes I wish I were still out
on the back porch, drinking jet fuel
with the boys, getting louder and louder
as empty cans drop out of our paws
like booster rockets falling back to Earth
and we soar up into the summer stars.
There are few easy-going summer activities I like doing more than having a few beers on the balcony with friends. Since most of my MFA friends are dropping off the earth or are going crazy or whatever the hell they're doing, I have to either do it alone, which is nice since I can read and work on essays and my own work, or usually Sean comes over. Inevitably, and cliched I suppose, we end up having a great time and talking about interesting shit. It's always a good time.
But I feel like if Tony Hoagland was there he'd always be judging. "Why did you invite me over here if you're going to not talk to me?" Or "That's not how you're supposed to be sipping a beer." Maybe he's a great guy in person, but man, have I heard stories... though I've heard frequently he's a brilliant guy. His poetry doesn't express that to me, but I do want to get his book of essays. Maybe I'll meet him one day and he won't be like Phil Levine, who really is an asshole and chastised me for giving him a discarded first edition hardback of WHAT WORK IS to be signed my first year of my MFA a few years ago. "This is a LIBRARY BOOK!" he said, like I just tried to punch him in the face or kick him in the balls. That made a huge impression on me, and since I've mostly been involved with very humbling poets, whether it's how they present themselves when reading, or talking to them after, or getting books signed. Not everyone's like Phil Levine, thank God.
*
Huge congratulations to Allison Titus (and no, the chapbook news is old, though good, and you should buy it if you haven't)! That's all I can say at this point... but I'm thrilled for her.
*
I think my pictures of Joe Bolton need to go back on my wall. I put them on a corner part of the wall by the light switch at my old apartment. One of my favorite poems I've written is an elegy for him, and I'm going to blanket the world until someone wants to publish it. If you don't know his work, it should blow your mind. And if it doesn't, you suck. He killed himself when he was 28, which saddens me every time I think about. He'd be the poet everyone's talking about now...
*
More and more I'm thinking how Drew Carey hosting The Price Is Right is another weird sign of the oncoming apocalypse (not to mention all of the weather-induced unspeakable madness since Katrina, which seems to be indefatigable). When my brother was at KSU, and DC was just a KSU dropout, he came back for some event and hung out with them and a few beers after a party when they were all hungover. No one knew him then. He was a kind of weird looking, funny, fat guy. Now he's a famouse kind of weird-looking, funny, fat guy. But he just doesn't fit. I thought Bob Barker would host until he died.
*
The new Sigur Ros record is kind of boring. It's no TAKK in my opinion. The first two songs are great, but then it goes into coma-induced plodding, per usual. If you're going to start it anthematic, keep it that way. Otherwise people will be falling asleep at the wheel. Maybe that's just my relentless attitude.
*
I used to love Tony Hoagland's "Jet," and I think WHAT NARCISSISM TO ME is pretty good, though it's lost it's weight for me the last few years. Here are the first six lines:
Sometimes I wish I were still out
on the back porch, drinking jet fuel
with the boys, getting louder and louder
as empty cans drop out of our paws
like booster rockets falling back to Earth
and we soar up into the summer stars.
There are few easy-going summer activities I like doing more than having a few beers on the balcony with friends. Since most of my MFA friends are dropping off the earth or are going crazy or whatever the hell they're doing, I have to either do it alone, which is nice since I can read and work on essays and my own work, or usually Sean comes over. Inevitably, and cliched I suppose, we end up having a great time and talking about interesting shit. It's always a good time.
But I feel like if Tony Hoagland was there he'd always be judging. "Why did you invite me over here if you're going to not talk to me?" Or "That's not how you're supposed to be sipping a beer." Maybe he's a great guy in person, but man, have I heard stories... though I've heard frequently he's a brilliant guy. His poetry doesn't express that to me, but I do want to get his book of essays. Maybe I'll meet him one day and he won't be like Phil Levine, who really is an asshole and chastised me for giving him a discarded first edition hardback of WHAT WORK IS to be signed my first year of my MFA a few years ago. "This is a LIBRARY BOOK!" he said, like I just tried to punch him in the face or kick him in the balls. That made a huge impression on me, and since I've mostly been involved with very humbling poets, whether it's how they present themselves when reading, or talking to them after, or getting books signed. Not everyone's like Phil Levine, thank God.
*
Huge congratulations to Allison Titus (and no, the chapbook news is old, though good, and you should buy it if you haven't)! That's all I can say at this point... but I'm thrilled for her.
*
I think my pictures of Joe Bolton need to go back on my wall. I put them on a corner part of the wall by the light switch at my old apartment. One of my favorite poems I've written is an elegy for him, and I'm going to blanket the world until someone wants to publish it. If you don't know his work, it should blow your mind. And if it doesn't, you suck. He killed himself when he was 28, which saddens me every time I think about. He'd be the poet everyone's talking about now...
| |
Subscribe to:
Posts (Atom)
