<?xml version='1.0' encoding='UTF-8'?><?xml-stylesheet href="http://www.blogger.com/styles/atom.css" type="text/css"?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/' xmlns:georss='http://www.georss.org/georss' xmlns:gd='http://schemas.google.com/g/2005' xmlns:thr='http://purl.org/syndication/thread/1.0'><id>tag:blogger.com,1999:blog-8031473272891209513</id><updated>2011-10-27T08:59:04.637-07:00</updated><category term='Report from Israel --Doug Holder&apos;s Trip'/><category term='Laurel Johnson on Poesy'/><category term='Syllabus  Endicott College  Senior Internship  Doug Holder'/><category term='Mississippi Poems by Linda Larson.  Doug Holder'/><category term='The Mojave Road And Other Journeys  by Bruce Williams Zvi Sesling Doug Holder'/><category term='etc...'/><title type='text'>Boston Area Small Press Review</title><subtitle type='html'>A temporary archive of reviews, interviews, etc...from Boston Area Small Press and Poetry Scene.</subtitle><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/posts/default'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default?max-results=100'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/'/><link rel='hub' href='http://pubsubhubbub.appspot.com/'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>38</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>100</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-8360323503470067067</id><published>2011-03-21T13:21:00.000-07:00</published><updated>2011-03-21T13:23:14.744-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='The Mojave Road And Other Journeys  by Bruce Williams Zvi Sesling Doug Holder'/><title type='text'>The Mojave Road And Other Journeys  by Bruce Williams</title><content type='html'>The Mojave Road And Other Journeys&lt;br /&gt;&lt;br /&gt;by Bruce Williams&lt;br /&gt;Tebot Bach, Huntington Beach CA &lt;br /&gt;Copyright © 2010 by Bruce Williams&lt;br /&gt;Softbound, 67 pgs, $15&lt;br /&gt;ISBN13:  978-1-893670-50-1&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Review by Zvi A. Sesling&lt;br /&gt;&lt;br /&gt;On my recent trip to San Diego I found myself in the chapel of&lt;br /&gt;a Lutheran church in Pebble Beach where they hold a poetry reading&lt;br /&gt;the second Sunday of each month.&lt;br /&gt;&lt;br /&gt;On this particular day Bruce Williams was the featured reader. Standing&lt;br /&gt;in front of a mosaic window of Jesus clad in elegant robes, Williams was&lt;br /&gt;dressed in boots, baggy jeans, a T-shirt that had some printed writing, the&lt;br /&gt;last word of which was evil and over that a brown leather vest.&lt;br /&gt;&lt;br /&gt;Williams is probably in his 60s, short, bald with some gray hair and a gray beard and moustache. When he reads he rhythmically bend forward like an Orthodox Jew and recites what is on the printed page in a strong clear voice. It is the voice that you will also find in his book: clear and strong. It is also personal, reflecting on his prostate cancer, his wife’s illness and death, and nature.  &lt;br /&gt;&lt;br /&gt;In Williams’ poetry, nature is intertwined with life and death and his beloved jeep is the vehicle for his journey through life and nature.  The mountains, the desert are metaphors for the rocky road of his experiences – and for his spiritual reawakening.&lt;br /&gt;&lt;br /&gt;After his wife is cremated Williams poem AFTER HE BRINGS HER ASHES HOME&lt;br /&gt;gathers his frail emotions in seven lines:&lt;br /&gt;&lt;br /&gt;Ellen sits&lt;br /&gt;on the mantle,&lt;br /&gt;seared inside&lt;br /&gt;her cedar box.&lt;br /&gt;There and&lt;br /&gt;not there&lt;br /&gt;            like him&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;In another poem he recalls his childhood and how the simple became complicated:&lt;br /&gt;&lt;br /&gt;PERSPECTIVE&lt;br /&gt;&lt;br /&gt;I loved Kit Carson&lt;br /&gt;when I was a boy&lt;br /&gt;because he was small&lt;br /&gt;and brave&lt;br /&gt;&lt;br /&gt;before I knew&lt;br /&gt;the scent&lt;br /&gt;of burning fruit&lt;br /&gt;heard of Canyon de Chelly-&lt;br /&gt;&lt;br /&gt;when the Navajo were the rugs&lt;br /&gt;on Grandfather’s floor,&lt;br /&gt;the silver on his hand.&lt;br /&gt;&lt;br /&gt;All in all I was fascinated by Williams’ journeys, his metaphors,&lt;br /&gt;his sensitivity, his self-insight and most of all his confrontation&lt;br /&gt;with the death of others and his own mortality. &lt;br /&gt;&lt;br /&gt;Williams is close to nature as he was (and still is) to his wife, and &lt;br /&gt;growing up in Colorado has given him a perspective of nature not &lt;br /&gt;unlike other poets, yet with more human meaning.&lt;br /&gt;&lt;br /&gt;Having said all this, this book is Willliams’ first full length book of&lt;br /&gt;poetry, following four chapbooks. &lt;br /&gt;&lt;br /&gt;The owner of two jeeps he tries to explore the desert at every opportunity&lt;br /&gt;and readers should explore his 42 poems  (and the end notes) at every chance.&lt;br /&gt;They confront optimism, fear, love (and what comes after love).  Highly recommended.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-8360323503470067067?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/8360323503470067067/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=8360323503470067067' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8360323503470067067'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8360323503470067067'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2011/03/mojave-road-and-other-journeys-by-bruce.html' title='The Mojave Road And Other Journeys  by Bruce Williams'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-8564960297745070875</id><published>2011-03-20T06:35:00.000-07:00</published><updated>2011-03-20T06:38:22.300-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Mississippi Poems by Linda Larson.  Doug Holder'/><title type='text'>Mississippi Poems by Linda Larson.</title><content type='html'>&lt;a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-k2LRCz8hR-M/TYYDR4hPfWI/AAAAAAAAEPU/XBljappCx4w/s1600/320.jpg"&gt;&lt;img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 212px; height: 320px;" src="http://3.bp.blogspot.com/-k2LRCz8hR-M/TYYDR4hPfWI/AAAAAAAAEPU/XBljappCx4w/s320/320.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5586155993564151138" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Mississippi Poems by Linda Larson. (ISCS PRESS 145 Foster St.  Littleton, Mass. 01460) $15.&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt; Review by Doug Holder&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;  Linda Larson and I go way back to the time when she was the editor-in-chief of the famed street newspaper “Spare Change News.” I was assisting the poetry editor at the time Don Di Vecchio, and I showed her an article I had written about the late Stone Soup Poetry founder Jack Powers. The article was rejected by some artsy magazine, but Linda liked it and published it-- on the front page no less. Well, I have for better or worse been writing articles ever since.&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;  Linda Larson, like many artists and writers has struggled with mental illness, but has overcome many obstacles and has a long career as a journalist and writer, as well as getting a M.A. from the John Hopkins Writing Seminars .&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;  The Ibbetson Street Press published her first collection “Washing the Stones,” and Larson has come out with another collection “Mississippi Poems” published by the well-respected small ISCS PRESS of Littleton, Mass.  Joseph P. Kahn of The Boston Globe writes that the collection  explores:  “…along with more universal truths about family and relationships, the brutality and tenderness we visit upon one another, and the tools we must equip ourselves in order to survive.”&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;  In her poem “Causalities” Larson writes about a heartbreaking drunken encounter with a damaged Vietnam War vet. Here she encapsulates his experience as a medic and the tragic notes he transcribed for the loved ones for his often terminal charges:&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;     “If it is a girl, please name her Marie&lt;br /&gt;&lt;br /&gt;       After Mother, I know you two don’t get along…”&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;      “When I get home to you.&lt;br /&gt;&lt;br /&gt;        We’ll get married. I promise you. A big wedding&lt;br /&gt;&lt;br /&gt;        Just like you want…”&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;      “Please tell her I didn’t mean to hit her.&lt;br /&gt;&lt;br /&gt;        I’d rather die than ever hurt her.”&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;In the poem “St. Mick, First Crush," Larson captures Mick Jagger and in turn the heady atmosphere of the Sixties with a stunning flourish of imagery:&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;  “Hashished I was into confusing your freckles with stars; so far gone I could only let you… Lucifer’s hummingbird, stunning in purple gorget, shooting up skyrockets, pulsating throughout a less than eternal night….. Yes Glorious word! You again, and I drank tea menthe, tasted the magic pipe…soon we were understanding Arabic, traveling the Venus express, winking at the eyes of smoke trees….&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt; Larson has the ability to make a bottom dweller like a Catfish reach the high holy, as well as making the eating of Southern cuisine as evocative as any sensual pleasure.  Highly Recommended.  To order go to:&lt;br /&gt;&lt;br /&gt;http://www.lulu.com/product/paperback/mississippi-poems/14737743&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-8564960297745070875?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/8564960297745070875/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=8564960297745070875' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8564960297745070875'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8564960297745070875'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2011/03/mississippi-poems-by-linda-larson.html' title='Mississippi Poems by Linda Larson.'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://3.bp.blogspot.com/-k2LRCz8hR-M/TYYDR4hPfWI/AAAAAAAAEPU/XBljappCx4w/s72-c/320.jpg' height='72' width='72'/><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3208445129876673229</id><published>2010-06-05T04:32:00.000-07:00</published><updated>2010-06-05T04:41:58.484-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Report from Israel --Doug Holder&apos;s Trip'/><category scheme='http://www.blogger.com/atom/ns#' term='etc...'/><title type='text'>Report from Israel --Doug Holder's Trip, etc...</title><content type='html'>&lt;a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_vKaCQRo7E0Q/TAo3_EnV0zI/AAAAAAAADvo/AtRw8bT98jU/s1600/images.jpg"&gt;&lt;img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 124px; height: 78px;" src="http://2.bp.blogspot.com/_vKaCQRo7E0Q/TAo3_EnV0zI/AAAAAAAADvo/AtRw8bT98jU/s320/images.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5479253453359665970" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Sketchbook:  A Journal for Eastern &amp; Western Short Forms&lt;br /&gt;&lt;br /&gt;Global Correspondent Report&lt;br /&gt; &lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt; &lt;br /&gt;&lt;br /&gt; Helen Bar-Lev&lt;br /&gt;&lt;br /&gt;Report from Israel&lt;br /&gt;&lt;br /&gt;12 December, 2006&lt;br /&gt;&lt;br /&gt;Johnmichael Simon and I returned from a two-month tour of the Northeastern USA and Canada , the Northwestern USA and Canada on 5 October 2006. While there we were guest poets of the CPA at the Chocolate River Festival in New Brunswick 25.8.06 – 27.8.06 organized by Donna Allard, CPA President; in Hamilton Ontario 2 September where we met with Katherine L. Gordon, James Deahl, Ellen Jaffe and wonderful others; in Boston, guests of Doug Holder of the Ibbetson Press at the Newton Free Library; in Vancouver, guests of the World Poetry people, Ariadne Sawyer and Alejandro Mujica-Olea.&lt;br /&gt;&lt;br /&gt;We returned elated from these wonderful meetings and readings and down to business immediately with getting the Voices Israel Annual Anthology submissions organized. Two plus months later this is continuing, and I, as Editor-in-Chief, have scheduled a meeting on the 26th of the month with the six members of the editorial board for discussion of those submissions which still have question marks as to their acceptance into the Anthology.&lt;br /&gt;&lt;br /&gt;Another exciting project was a brainchild of mine – to have an exhibition for poets who are also fine artists at the Jerusalem Theatre – this is the most prestigious venue in Israel; tentatively we have fifteen people who will participate and a date in October 2007. Each artist will hang two paintings and a poem, and books of our poetry will be sold at the bookstore located in the lobby of the Theatre. Johnmichael will probably be putting out a catalogue of the show.&lt;br /&gt;&lt;br /&gt;The Reuben Rose Annual Poetry Contest is currently being judged by Vera Rich of London (of Manifold fame) and the awards presentation will take place here in January, with a week of accompanying workshops. Vera, unfortunately, will not be able to come due to health problems, so other local poets will head the workshop this year. Possibly she will be able to make it later on in the year. Doug Holder will be judge for next year’s Reuben Rose Contest.&lt;br /&gt;&lt;br /&gt;Johnmichael and I have been published in a wonderful variety of publications; Johnmichael has received a high distinction award for his poem PEANUTS from the John Reid Poetry Contest and will be published in the forthcoming Anthology SAILING IN THE MIST OF TIME. And I was awarded third prize in the Dancing Poetry Contest of the Artists’ Embassy International based in San Francisco for my poem THE ENCHANTED DANCER.&lt;br /&gt;&lt;br /&gt;We are moving up to our new home in Metulla, right on the Lebanese border, the middle-end of January and pray for peace.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3208445129876673229?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3208445129876673229/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3208445129876673229' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3208445129876673229'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3208445129876673229'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2010/06/report-from-israel-doug-holders-trip.html' title='Report from Israel --Doug Holder&apos;s Trip, etc...'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://2.bp.blogspot.com/_vKaCQRo7E0Q/TAo3_EnV0zI/AAAAAAAADvo/AtRw8bT98jU/s72-c/images.jpg' height='72' width='72'/><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3633990589840774684</id><published>2009-10-24T10:05:00.001-07:00</published><updated>2009-10-24T10:07:56.766-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Syllabus  Endicott College  Senior Internship  Doug Holder'/><title type='text'>Endicott College--Doug Holder/ Syllabus/HST/IST/SP480</title><content type='html'>Endicott College&lt;br /&gt;Beverly, Massachusetts&lt;br /&gt;&lt;br /&gt;     College of Arts and Sciences—Liberal Studies&lt;br /&gt;Course Syllabus&lt;br /&gt;&lt;br /&gt;Course No:       HST/IST/SP 480&lt;br /&gt;Course Title:   Senior Internship&lt;br /&gt;Credits:                 12 &lt;br /&gt;Pre-requisites:          All program requirements through third year&lt;br /&gt;Semester and Year:   Fall 2009   &lt;br /&gt;        &lt;br /&gt;Faculty:                        &lt;br /&gt;        Office Location:  VL311      &lt;br /&gt;        Telephone: 617-628-2313             &lt;br /&gt;        E-mail: dougholder@post.harvard.edu        &lt;br /&gt;        Office Hours: After class, email me, call me until 7PM          &lt;br /&gt;&lt;br /&gt;Catalog Description: A full-semester field experience requires students to apply academic theories to the professional work environment. The fourteen week period is planned and supervised by faculty and site supervisors. A bimonthly, on-campus supervision group provides the opportunity for students to reflect upon their experiences and learning. Students will be responsible for outside reading and writing assignments designed to integrate theory and practice.   &lt;br /&gt;      &lt;br /&gt;Course Objectives:&lt;br /&gt;At the completion of this course the student should be able to:&lt;br /&gt;1.  Set Personal Goals.                                                       &lt;br /&gt;2.  Learn as much as possible about the organization he or she is involved in.              &lt;br /&gt;3.  Produce tangible accomplishments.                                                      &lt;br /&gt;4.  Report on learning opportunities: training sessions, conferences, etc….&lt;br /&gt;5.  Express general understanding of the duties of the job the intern was placed in.  .             &lt;br /&gt;6.  An understanding of what is important to intern in a career.&lt;br /&gt;7   How did the intern adjust to the "culture" of the milieu he or she worked       in?  &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Topical Outline: &lt;br /&gt;&lt;br /&gt;Course Outline&lt;br /&gt;&lt;br /&gt;CLASS #1 (9/11/2009)&lt;br /&gt;Introduction of Students-- (Describe yourself--interests, etc...)&lt;br /&gt;Introduction of Teacher&lt;br /&gt;Review Syllabus&lt;br /&gt;Discussion of site visits&lt;br /&gt;Discussion of internship goals. &lt;br /&gt;Assignment:&lt;br /&gt;Journal Entries&lt;br /&gt;&lt;br /&gt; &lt;br /&gt;CLASS #2 (9/25/09)&lt;br /&gt;Discussion of journal entries.&lt;br /&gt;Guest Speaker: Steve Glines&lt;br /&gt;How has your perceptions changed from the first class?&lt;br /&gt;Avoiding negativity.&lt;br /&gt;Discussion of George Plimpton quote about internships.&lt;br /&gt;Assignment:&lt;br /&gt;Journal Entries &lt;br /&gt;800 word paper describing the organization you work for:&lt;br /&gt;Structure, Mission Statement, Culture, Career Opportunities,&lt;br /&gt;etc... &lt;br /&gt;Guest Speaker Report &lt;br /&gt;Learning Agreement Due&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;CLASS #3 (10/9/09)&lt;br /&gt;&lt;br /&gt;Discussion of Journal entries.&lt;br /&gt;Are you afraid to ask questions?&lt;br /&gt;The secretaries, and clerks-- a discussion&lt;br /&gt;Taking an initiative vs. the "know it all."&lt;br /&gt;Assignment:&lt;br /&gt;Journal entries&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;CLASS #4 (10/23/09)&lt;br /&gt;Guest Speaker: Paul Steven Stone&lt;br /&gt;"If your boss tells you that she wants you to do something, don't say to her, "How should I do that?' Leave the room, and call anyone you can think of to tell you how to do it?" (Nora Ephron)—Discussion &lt;br /&gt;Assignment:&lt;br /&gt;Journal entries&lt;br /&gt;Speaker Report &lt;br /&gt;&lt;br /&gt;CLASS #5 (11/6/2009)&lt;br /&gt;Guest Speaker: Gloria Mindock&lt;br /&gt;Have you been proactive?&lt;br /&gt;Discussion of journal entries.&lt;br /&gt;Discussion of final paper. &lt;br /&gt;Assignment:&lt;br /&gt;Journal entries&lt;br /&gt;Speaker Report&lt;br /&gt;&lt;br /&gt;CLASS #6 (11/20/2009) &lt;br /&gt;Discussion of journal entries.&lt;br /&gt;Have you enjoyed yourself?&lt;br /&gt;Did you make an impact?&lt;br /&gt;Assignment:&lt;br /&gt;Final Paper.&lt;br /&gt;&lt;br /&gt;CLASS #7 (12/4/2009)&lt;br /&gt;Final discussion of internship experience.&lt;br /&gt;Hand in final paper.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Teaching/Learning Strategies: &lt;br /&gt;Lectures, Working in the field, Written reports on the organization itself—and the student’s actual experience through written journals.&lt;br /&gt;&lt;br /&gt;Evaluation Methods:&lt;br /&gt;Internship site evaluation 40%&lt;br /&gt;Attendance, constructive class participation, written assignments  60%&lt;br /&gt;&lt;br /&gt;Assignments:&lt;br /&gt;Starting the second class students will bring in a 500 to 800 (printed) word journal entry about their experiences. There will be a discussion of the clarity of the writing, if it is compelling and will it engage future interns. Writing will be focused on in the class because these skills are essential in the work environment.&lt;br /&gt;&lt;br /&gt;An 800 word final paper that will discuss: Were the students' personal goals met?&lt;br /&gt;What tangible accomplishments did they make? Did they acquire a mentor other than a supervisor? How did they view their role there? (Before and after the internship.)&lt;br /&gt;Were they able to network? What differences did they notice between theory and practice? Will they try to get a job there? What did they find out about their strengths and weaknesses?&lt;br /&gt;&lt;br /&gt;Short 250 word to 400 word reports on Guest Speakers.&lt;br /&gt;&lt;br /&gt;Attendance Policy:&lt;br /&gt;Since there are only seven classes students should make every effort to attend each one. If classes are missed this can affect the grade.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;ADA Policy: &lt;br /&gt;If you as a student qualify as a person with a disability, as defined in chapter 504 of the rehabilitation act of 1973, you may wish to discuss the need for reasonable accommodation with your instructor.  You should make this contact at the start of the semester.&lt;br /&gt;&lt;br /&gt;Academic Honesty: &lt;br /&gt;Academic Honesty: Academic honesty is an expectation of all students. Violations of academic honesty are serious transgressions in an academic setting. Violations undermine the academic integrity and mission of the College for all members of the community.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Plagiarism is a violation of academic honesty. Plagiarism is the presentation of someone else’s words, images, or ideas as one’s own. Plagiarism includes: copying phrases, sentences, or passages from sources without quotation marks and source citations; paraphrasing or summarizing someone else’s ideas without acknowledging the source; excessive use of paraphrasing, even when sources are cited; handing in a paper that has been written by or copied from another person or source.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Plagiarism is a serious offense. A faculty member may handle plagiarism as he or she sees fit or the faculty member may refer the student¹s paper to the Academic Honesty Committee for review and resolution. Plagiarism may result in failure of the course or dismissal from the College. Cheating is a violation of academic honesty. A faculty member may handle cheating as he or she sees fit or the faculty member may refer the matter to the Academic Honesty Committee for review and resolution. Cheating on exams, tests, quizzes or any other assignment may result in failure of the course or dismissal from the College. &lt;br /&gt;.&lt;br /&gt;&lt;br /&gt;Recommended Readings:&lt;br /&gt;Take Charge of Your Career by Cynthia Ingols and Mary Shapiro. Barnes and Noble Books: New York, NY, 2004 &lt;br /&gt;&lt;br /&gt;Subject to Change Statement: &lt;br /&gt; This syllabus is subject to change.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3633990589840774684?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3633990589840774684/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3633990589840774684' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3633990589840774684'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3633990589840774684'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2009/10/endicott-college-doug-holder.html' title='Endicott College--Doug Holder/ Syllabus/HST/IST/SP480'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-7357402768586295660</id><published>2008-04-06T14:39:00.000-07:00</published><updated>2008-12-10T21:51:28.560-08:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Laurel Johnson on Poesy'/><title type='text'>Poesy, Issue #36</title><content type='html'>&lt;a href="http://3.bp.blogspot.com/_vKaCQRo7E0Q/R_lDkp_1klI/AAAAAAAABDk/ZHoI_DLafKw/s1600-h/mbr.gif"&gt;&lt;img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_vKaCQRo7E0Q/R_lDkp_1klI/AAAAAAAABDk/ZHoI_DLafKw/s320/mbr.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5186250742921794130" /&gt;&lt;/&lt;br /&gt;&lt;br /&gt;Poesy, Issue #36&lt;br /&gt;A quarterly literary journal&lt;br /&gt;ISSN 1541-8162&lt;br /&gt;Subscriptions $12 per year&lt;br /&gt;Attn: Editor, Brian Morrissey&lt;br /&gt;P.O. Box 7823&lt;br /&gt;Santa Cruz CA 95061&lt;br /&gt; &lt;br /&gt;It’s been awhile since I’ve reviewed a journal, so Poesy and I returned from hiatus together. After 18 years and 35 issues, Publisher / Editor Brian Morrissey took a year off to explore China. For this latest issue, Morrissey engaged a guest editor, Erika King, a student of literature and art history at Bennington College in Vermont. Her internship is the latest in many transitions for Poesy. &lt;br /&gt; &lt;br /&gt;Morrissey began Poesy’s journey when he was fourteen and living on the east coast. Since that first edition, Morrissey’s vision has never flagged. He wanted his literary journal to be the best on the market, one that provides photographic and poetic adventures into the unknown for readers in every issue. After his move to the west coast, Morrissey was concerned that Poesy might become regional in flavor and interest instead of reflecting the work of poets across America. He contacted poet and journalist, Doug Holder, who became the east coast editor. Their editorial collaboration produced the results Morrissey wanted.&lt;br /&gt; &lt;br /&gt;This latest issue features breathtaking photographs in black and white that effectively capture the spirit of the poetry. In Poesy, the poetry, photographs, interviews, and commentaries become the stars through simple-yet-striking presentation. Work by 16 poets and 5 photographers blend beautifully to reflect the harsh truths, stark sorrows, fragmented souls, and joy hungry spirits that comprise our chaotic world. Also memorable is an article by Doug Holder about Harris Gardner, the real estate broker and substitute teacher who single handedly founded the Boston Poetry Festival. Erika King’s interview with the Guerilla Poets Project so intrigued me that I checked their website. The GPP is a consortium of small presses, poets, and writers who want poetry to matter again, with or without sales. To that end they disperse broadsides throughout the world for readers to discover as a surprise when they purchase books or check them out from libraries.&lt;br /&gt; &lt;br /&gt;Taken as a whole, Poesy is an exceptional journal created by visionaries. Its very simplicity inspired excitement in this old poet-writer-reviewer-photographer on many levels. From the editors to the poets and photographers to the layout, this journal is unique and highly recommended.&lt;br /&gt; &lt;br /&gt;Laurel Johnson for Midwest Book Review&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-7357402768586295660?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/7357402768586295660/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=7357402768586295660' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/7357402768586295660'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/7357402768586295660'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2008/04/poesy-issue-36.html' title='Poesy, Issue #36'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://3.bp.blogspot.com/_vKaCQRo7E0Q/R_lDkp_1klI/AAAAAAAABDk/ZHoI_DLafKw/s72-c/mbr.gif' height='72' width='72'/><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-1128422295717122725</id><published>2007-10-31T20:35:00.000-07:00</published><updated>2007-10-31T20:38:30.677-07:00</updated><title type='text'>POETS AGAINST THE KILLING FIELDS</title><content type='html'>POETS AGAINST THE KILLING FIELDS&lt;br /&gt;(Anthology); Trilingual Press; Cambridge, MA;  $12.95&lt;br /&gt;&lt;br /&gt;&lt;br /&gt; If you can turn off “American Idol,” forget for a moment the Red Sox and the Patriots, and take a hard look at the phase of late capitalism in which we find ourselves here in America, in 2007, you might just want to vomit.  More likely you would have tuned back into “American Idol” long before you got to that point.  The various poets of this anthology are not going to let you do that.  They have your head in a vice and toothpicks propping your eyes open.  And you are going to look.  And you WILL see.  &lt;br /&gt; They shouldn’t have to do that to you.  You could have seen for yourself.  It’s a matter of record that Al Gore won the 2000 election.  It’s a matter of record that the United States invaded Iraq for reasons having nothing to do with America’s security.  It’s laughable that Saddam Hussein would have anything to do with Islamic jihadists like al-Queada.   Contrary to the blatant lies of George W. Bush, the US has introduced torture as a standard operating procedure in interrogating detainees regardless of how much evidence there may or may not be that they are involved with terrorists.  Waterboarding is a method of torture used as far back as  the Inquisition.  How interesting that torture is instituted by a President that used to enjoy blowing up frogs as a kid.  But I digress.  &lt;br /&gt; The US turned Iraq, which had a large middle class and was a developed nation, albeit under dictatorial rule, into a nightmarish hell-hole.  And the US will not leave even when Iraq’s oil is in the hands of American oil companies.  Iraqi families have seen their loved ones gunned down or imprisoned almost at random by either rival militias, gangs of thugs or US troops.  &lt;br /&gt; My point here is that all too many Americans are oblivious to the suffering of others around the world even when that suffering is directly caused by the US or its client, Israel.  All too many Americans are oblivious that our country is moving closer to authoritarianism every day.  And this anthology may make you uncomfortable if you are one of the oblivious.  And if you are, read deeply then throw your TV remote in the trash; become a citizen of the world.   Let yourself address the “small girl playing with bullets found on war ground” as Aldo Tambellini does in “March 14, 2005.”  &lt;br /&gt;&lt;br /&gt;                                  has the killing bullet&lt;br /&gt;                                  replaced your toy doll innocence&lt;br /&gt;            after your baptism by fire&lt;br /&gt;                                  did your parents survive&lt;br /&gt;&lt;br /&gt; “In A Shout for Yusuf Hawkins,” Jill Netchinsky writes:&lt;br /&gt;&lt;br /&gt;           Bensonhurst&lt;br /&gt;                                 cardboard theater figures&lt;br /&gt;           drunk Italian inlaws&lt;br /&gt;           a gun on New Year’s Eve&lt;br /&gt;           Veterans reminisce&lt;br /&gt;           “Let’s go beat up some nigguhs”&lt;br /&gt; &lt;br /&gt; The Poets Against the Killing Fields are here to tell you that the world is experienced very differently by third-world people under the thumb of US imperialism,  and by working people and people of color here in America, than the unfair and unbalanced networks like Faux News would have you believe.  Perhaps as you peruse these pages the scales will fall off your eyes as well and you too will find your clenched fist beginning to rise.  Now say it with me: Fuck “American Idol!”&lt;br /&gt;              &lt;br /&gt;                                                                                       Richard Wilhelm&lt;br /&gt;                                                                                       Ibbetson Update&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-1128422295717122725?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/1128422295717122725/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=1128422295717122725' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1128422295717122725'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1128422295717122725'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/poets-against-killing-fields.html' title='POETS AGAINST THE KILLING FIELDS'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-5359915809481728650</id><published>2007-10-30T10:24:00.000-07:00</published><updated>2007-10-30T10:25:00.253-07:00</updated><title type='text'>Watermark by Jacquelyn Pope Review by Doug Holder</title><content type='html'>September 14, 2005&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Watermark by Jacquelyn Pope (Marsh Hawk Press PO BOX 206 East Rockaway, NY 11518 2005) http://web.archive.org/web/20060506015704/http://marshhawkpress.com/ $13.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt; Jacquelyn Pope's new collection of poetry "Watermark" ( Marsh Hawk Press) is an undeniably melancholy, haunting, and accomplished collection of poetry. Pope's use of language is fine-tuned, clear, clipped, concise and most of all evocative. I was most impressed with the poems that dealt with human relationships. Her imagery beautifully defines estrangement, and the ultimately unknowable entity the "other." In "Mrs. Robinson," ( I'm assuming modeled after that disaffected, booze-swilling cipher of "The Graduate" fame), Pope paints a portrait of an empty woman with chilling precision: " He's fixed her off the page, where she'sabandoned: mid-century,semi-continential. Cold sunlightstabs the medicated air.Too bored to sitand suck the mentholated tipof her malaise, she wondersat the nerve that led him on" (41) In " By Light," Pope skillfully traces a woman's realization that even in what we feel are the most intimate relationships; we are ultimately strangers to one another. It is impressive how Pope uses the most banal of things such as: lamplight, and shadows on a wall to bring the poem home: " ...I sat/ in my own pool of light,/ still wholly/ untranslated into rooms that had/ learned you long ago. Our shadows/ hovered on their walls, dark forms/ drawn across the future./ Time flickered,/ fading from the room the night/ I saw our boundaries were drawn..." (39) When I read the work of some contemporary poets, often I find that the poems are obscure, inaccessible, and I simply can't relate to them. And just as often when I read small press poets whose work is accessible, I found that the poems are too facile and lack the heightened language a poem requires. Pope has written a collection that most of us non-academic poets can understand, relate to, and go back to in years to come. &lt;br /&gt;&lt;br /&gt;Doug Holder/ Ibbetson Update/ Somerville, Mass. 2004/ Sept. 2005&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-5359915809481728650?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/5359915809481728650/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=5359915809481728650' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5359915809481728650'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5359915809481728650'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/watermark-by-jacquelyn-pope-review-by.html' title='Watermark by Jacquelyn Pope Review by Doug Holder'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2955001579960709290</id><published>2007-10-30T09:00:00.000-07:00</published><updated>2007-10-30T09:01:25.649-07:00</updated><title type='text'>Rafts by Simon Perchik</title><content type='html'>Rafts&lt;br /&gt;simon Perchik&lt;br /&gt;Parsifal press 2007&lt;br /&gt;13.95 U.S.&lt;br /&gt;16.00 Can&lt;br /&gt;ISBN 978-0-9739960-3-6&lt;br /&gt;&lt;br /&gt;Review by Irene Koronas&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;RAFTS&lt;br /&gt;&lt;br /&gt;This book of poetry shifts back and forth, time tides, small ocean pools we can gaze into for small bits, living matters. “you can hear the dirt, the shallow foothold, the hand to hand.” The poem’s relationships have a natural commitment with family - lovers as close as trees. “and nothing underneath but this orange this half brother, half sister, head down-there’s still room, the healing bigger than ever, returning from a pasture and covered with wet grass.” &lt;br /&gt;&lt;br /&gt;The intimacy of Simon Perchik’s poetry astounds, the reader immediately recognizes and identifies with the persistent struggle to identify with all around oneself. “it’s a scary scratching, squeaks right through the heart as when falling stars cry out the light that is not morning and leaf by leaf, surrounded by a fence.”&lt;br /&gt;&lt;br /&gt;Mostly, this collection of poems, melds into an epic like Homer, but not Homer, like sublime, but not sublime; these poems are narrative sublimity in that they also capture, take us on the journey. and what is the journey? is it simply in narrative in nature, the going forth, coming back? perhaps. “anything is possible-they hatch til the stones whose common ancestor in the moon…they keep the dead company.” we carry his words up the hill. pile them in neat piles, then the phrases tumble down and find another configuration. Rafts is a poetry book which dares to be its own. “once you reach the emptiness it will still answer…”&lt;br /&gt;&lt;br /&gt;Irene Koronas is the poetry editor of the Wilderness House Literary Review, and a member of the "Bagel Bards," a writers' group in the Boston area.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2955001579960709290?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2955001579960709290/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2955001579960709290' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2955001579960709290'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2955001579960709290'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/rafts-by-simon-perchik.html' title='Rafts by Simon Perchik'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-6973366985944114982</id><published>2007-10-30T07:12:00.000-07:00</published><updated>2007-10-30T07:15:03.866-07:00</updated><title type='text'>Lois Ames: Confidante to Sylvia Plath and Anne Sexton.”</title><content type='html'>“Lois Ames: Confidante to Sylvia Plath and Anne Sexton.”&lt;br /&gt;&lt;br /&gt;Recently I was privileged to hear Lois Ames speak at the “Wilderness House&lt;br /&gt;Literary Retreat,” in Littleton, Mass. Lois Ames is a poet, biographer and&lt;br /&gt;psychotherapist. She was a confidante of the poet Anne Sexton, and has&lt;br /&gt;published many essays on both Sexton and Sylvia Plath including: “A&lt;br /&gt;Biographical Note,” in Plath’s “Bell Jar,” She also was the editor of “Anne&lt;br /&gt;Sexton: A Self-Portrait in Letters.’ I talked with her on my Somerville&lt;br /&gt;Community Access TV show “Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: Is it a natural fit for “confessional” poets like Sexton and&lt;br /&gt;Plath to have a trained social worker , and a literary historian, as a&lt;br /&gt;confidante?&lt;br /&gt;&lt;br /&gt;Lois Ames: I don’t think it is usual. I don’t think that’s why I was their&lt;br /&gt;friend or confidante. I knew Sylvia from high school and Smith College. Anne&lt;br /&gt;I once met in high school, but I didn’t know her till much later. I was then&lt;br /&gt;a trained social worker, but I don’t think that’s why we became friends.&lt;br /&gt;Anne certainly asked me to go to McLean Hospital when she first started&lt;br /&gt;teaching poetry there. She wanted someone trained to help her when she&lt;br /&gt;reviewed the patient poems. She didn’t want to hurt these fragile patients’&lt;br /&gt;feelings. She wanted me to monitor what she said. She turned out to be&lt;br /&gt;superb.&lt;br /&gt;&lt;br /&gt;Doug Holder: You wrote the biographical note for the “Bell Jar.” Did you&lt;br /&gt;ever want to do a complete biography of Plath and Sexton?&lt;br /&gt;&lt;br /&gt;Lois Ames: I did. The book “Anne Sexton: Self-Portrait in Letters.” was my&lt;br /&gt;idea. It was done partly to get an understanding about what material was&lt;br /&gt;there. She had appointed me her official biographer. But it was also to help&lt;br /&gt;her children to understand aspects of their mother’s life they weren’t aware&lt;br /&gt;of. I thought if I was there for them we could go through the letters, and&lt;br /&gt;this would be very helpful.&lt;br /&gt;&lt;br /&gt;I was the first one to be asked to do the biography of Sylvia Plath. I had&lt;br /&gt;a contract with the family. Harper and Row was my publisher. It became&lt;br /&gt;increasingly difficult for me to do this, as other biographers have found&lt;br /&gt;out. And I finally decided for the sake of my own sanity and my family; that&lt;br /&gt;it was better to pay back the advance to Harper’s. I always felt it was a&lt;br /&gt;wise decision.&lt;br /&gt;&lt;br /&gt;Doug Holder: Did Plath have any interest in teaching poetry at McLean&lt;br /&gt;Hospital, like Sexton?&lt;br /&gt;&lt;br /&gt;Lois Ames: Oh, no, I don’t think so. Sylvia was a junior in college when she&lt;br /&gt;was at McLean. In those days she wasn’t trained to do anything like that.&lt;br /&gt;She went to England after she graduated Smith. There was no reason for her&lt;br /&gt;to even think of doing that. That was not Sylvia’s interest. Anne loved&lt;br /&gt;teaching. Sylvia found teaching very difficult. She taught one year at Smith&lt;br /&gt;College and felt that it drained her. I assume going to England with Ted&lt;br /&gt;Hughes and leaving Smith, was a wonderful opportunity for her.&lt;br /&gt;Doug Holder: Anne was not formally educated beyond high school. If say, she&lt;br /&gt;was educated in the Liberal Arts at Harvard, would she be a different poet?&lt;br /&gt;Lois Ames: She was very interested in form when she first started and she&lt;br /&gt;studied it very diligently. When she was in Robert Lowell’s workshop she&lt;br /&gt;studied it as well. She read a great deal. She tried to make up for the&lt;br /&gt;great gaps in her education. Her teachers in public school gave up on her&lt;br /&gt;very early. They told her parents that she was hopeless. She was sent to the&lt;br /&gt;“Garland School,” a finishing school for girls at the time. She said she&lt;br /&gt;learned to make perfect white sauce there, but that was it. But she was&lt;br /&gt;writing poetry when she was there and it was published in a magazine the&lt;br /&gt;school put out.&lt;br /&gt;&lt;br /&gt;Doug Holder: Have you had any clients since Sexton and Plath who have&lt;br /&gt;reached literary heights?&lt;br /&gt;&lt;br /&gt;Lois Ames: I knew a lot of the people in the workshop Anne ran. I am sworn&lt;br /&gt;to confidentiality however. But a lot of people, who came out of the&lt;br /&gt;workshop, have been or are published poets. They do very well in the poetry&lt;br /&gt;world.&lt;br /&gt;&lt;br /&gt;Doug Holder: Is your own poetry influence by either poet?&lt;br /&gt;&lt;br /&gt;Lois Ames: Anne certainly taught me a lot about reading. She taught me to&lt;br /&gt;get as many critiques as possible. Have I ever tried to follow the style of&lt;br /&gt;either of them? No. And no one has ever accused me of that.&lt;br /&gt;&lt;br /&gt;Doug Holder: Do you think if Plath didn’t have this dramatic background of&lt;br /&gt;suicide, Smith, and marriage toTed Hughes, etc...and was a working-stiff&lt;br /&gt;from Waltham, would she be as celebrated as she is today?&lt;br /&gt;&lt;br /&gt;Lois Ames: I am wondering where Plath will stand in a hundred years. Ted&lt;br /&gt;Hughes was very good at marketing Plath. He kept her reputation growing by&lt;br /&gt;the astute publication of her work. I think the fact that she and Ted Hughes&lt;br /&gt;had a passionate romance, were from a tumultuous family, and the fact that&lt;br /&gt;Sylvia killed herself, all lead to the mystique. It contributes to her&lt;br /&gt;present fame. Some of Plath’s poems were superb and she knew a lot about&lt;br /&gt;poetic form.&lt;br /&gt;&lt;br /&gt;Doug Holder: Where will Sexton’s work stand in a hundred years?&lt;br /&gt;&lt;br /&gt;Lois Ames: I think it will fare well. I think Sexton was more daring than&lt;br /&gt;Plath. The problem is that people don’t read Sexton today. I don’t think she&lt;br /&gt;is promoted. She hasn’t been marketed the way Plath is today.&lt;br /&gt;&lt;br /&gt;Doug Holder: The poet Ted Hughes, Plath’s husband, has been much maligned.&lt;br /&gt;Both Plath and his other wife committed suicide. It has been said he drove&lt;br /&gt;Plath to suicide through his infidelity, etc... What’s your take?&lt;br /&gt;&lt;br /&gt;Lois Ames: Ted had a lover during their marriage that he later had a child&lt;br /&gt;with. This was the source of Sylvia’s rage. Later she killed herself the&lt;br /&gt;same way Sylvia did. I felt extreme sympathy for Ted. There is nothing more&lt;br /&gt;rage full to do to other people than to kill yourself. I don’t think other&lt;br /&gt;people are responsible for other people’s suicides. With the medications we&lt;br /&gt;have now maybe Sylvia and Ann could have been saved.&lt;br /&gt;&lt;br /&gt;Doug Holder: Did the limitations on women coming of age in the 50’s play a&lt;br /&gt;role in these untimely deaths?&lt;br /&gt;&lt;br /&gt;Lois Ames: Each of us was a warrior trying to find herself. Every&lt;br /&gt;achievement was huge. To get out from under the dishwashing, the daycare,&lt;br /&gt;and to create anything took enormous courage, and strength. I am sure it&lt;br /&gt;took its toll.&lt;br /&gt;&lt;br /&gt;Doug Holder: Did Sexton and Plath’s mental illness contribute positively to&lt;br /&gt;their poetry?&lt;br /&gt;&lt;br /&gt;Lois Ames: Each wrote in spite of their illness. It took enormous courage to&lt;br /&gt;do this.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-6973366985944114982?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/6973366985944114982/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=6973366985944114982' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6973366985944114982'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6973366985944114982'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/lois-ames-confidante-to-sylvia-plath.html' title='Lois Ames: Confidante to Sylvia Plath and Anne Sexton.”'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2063763589019148415</id><published>2007-10-30T07:09:00.000-07:00</published><updated>2007-10-30T07:10:56.763-07:00</updated><title type='text'>Close those goddamn doors: An Afternoon With Louisa Solano</title><content type='html'>" Close those goddamn doors!: An Afternoon with Louisa Solano: Memories of the Grolier Poetry Book Shop"At the Wilderness House Literary Retreat http://www.wildernesshouse.org&lt;br /&gt;&lt;br /&gt;By Doug Holder&lt;br /&gt;&lt;br /&gt;On Aug 6 2006 at the Wilderness House Literary Retreat Louisa Solano, former owner of the Grolier Poetry Book Shop held court for a few hours of casual conversation concerning her experiences running the famed Harvard Square bookshop for over 30 years. It seems that almost every major contemporary poet passed through these doors at one time. Here is a sampler of what Solano had to say about the times and poets she knew:&lt;br /&gt;&lt;br /&gt;Gordon Cairnie: (the founder of the store)&lt;br /&gt;&lt;br /&gt;“These goddamn browsers, close those goddamn, doors!” This was a declaration often heard by Solano. Cairnie was “quirky,” and did have a temper according to Solano. Solano said, “After I bought the store I had a whole line of people who told me that Gordon ruined them emotionally. It was the way he talked to them.” Cairnie in part was reacting to the browsers who never bought a book, and the ones who shoplifted. Obviously keeping people out of the store was not good business sense. But Solano felt there was a prevailing attitude at the time that poets were abused by society, so poetry and commerce were viewed as totally separate entities. After he died Solano recalled that many folks thought it was a “sin” that she took over the store.&lt;br /&gt;&lt;br /&gt;Solano on shoplifting:&lt;br /&gt;&lt;br /&gt;“According to a study 98% of people steal. People steal because it is an adventure, a high. It’s like shooting up; you have to do more and more. You become an expert on justification.” Solano said that studies indicate that shoplifting is highest among people in religious orders. She recalled that a monk with a flowing robe ripped her off. She said, “His robe was a little less flowing when he went out."&lt;br /&gt;&lt;br /&gt;Solano on Harvard Square:&lt;br /&gt;&lt;br /&gt;"Whatever part of the country people come from, the suburbs or little working communities, they come to the square and reality diminishes. She continued:"People are walking in a state of grandeur. I remember being accompanied down the street by someone who said he was going to kill me because I was a Harvard capitalist!”&lt;br /&gt;&lt;br /&gt;Solano on Robert Lowell:&lt;br /&gt;&lt;br /&gt;“I met him twice. I thought he was homeless. He was carrying two bags full of newspapers, and he was disheveled. The first time he said to me: “Young lady. I want you to know that Gordon talked too much, and you should never do that.” He walked out of the store. A week later he came and said, “Young lady. You are not following Gordon. You don’t talk to customers.” I found out later that this was Robert Lowell.”&lt;br /&gt;&lt;br /&gt;Solano’s favorite poet:&lt;br /&gt;&lt;br /&gt;“Philip Levine. He has always been my favorite. I think his approach to poetry is wide open. He loved an audience. He was a great standup comic. I loved the love he had for the Jewish community. I really love him.”&lt;br /&gt;&lt;br /&gt;Solano on the small press:&lt;br /&gt;&lt;br /&gt;“I always thought the small press was the most interesting part of poetry. When I took over the store there was a big small press movement going on. This was the 70’s. Some magazines were printed on colored tissue papers, different sizes, etc… Most of the bigger presses were publishing Lowell, Sexton and Plath. They were not particularly democratic. Diana Di Prima was first published by a small press and then started her own, and it is still going strong. She has done translations, and poetry publishing.The University of Texas/Austin was wild about the small press. They probably now (besides the University of Buffalo) have the best small press collection.’“Black Sparrow Press’ started out selling books with three or four poems for a dollar. Most of the bookstores today would not accept these.”Even if you were published just in the small press; the fact was you were in a book on a public shelf. Then if things went well you would do another small press book. If things continued to go well, you would get known.&lt;br /&gt;&lt;br /&gt;Solano on Charles Bukowski:&lt;br /&gt;&lt;br /&gt;"He sent his poems out virtually everyday to every small press magazine out there. This totally demolished the myth of him as a disorganized drunk. He wouldn’t be able to do this if he was."&lt;br /&gt;&lt;br /&gt;Solano on Ed Hogan founder of “Aspect” magazine and “Zephyr Press”:&lt;br /&gt;&lt;br /&gt;“Ed was brilliant. He had a lot of energy. He talked endlessly and rapidly. He got a great group of local poets together, and got the magazine out.”&lt;br /&gt;&lt;br /&gt;Solano on Allen Ginsberg.&lt;br /&gt;&lt;br /&gt;“I loved Allen. When he died I thought the world would cave in. He visited the store when he was quite ill. He looked yellowish and diminished. I was shocked. I thought of him as immortal. He brought poetry in the open from a very closed 1950’s America."&lt;br /&gt;&lt;br /&gt;On Jack Kerouac:&lt;br /&gt;&lt;br /&gt;“When I first met him he was sitting down at Lowell House. (Harvard University.) He was wearing a checkered shirt, and sloppy chinos, partly because he was so fat. The audience loved him because he was what they expected. He was the crazy writer. At the end of the reading, Desmond O’Grady, a wild Irish poet (I was madly in love with him), and I escorted him to a bar in Cambridge. There was a young woman who announced to Kerouac and all the guys around him that she wanted a “multiple lay.” Kerouac didn’t do anything and just waddled off to the bar. We got him back to where he was staying and he passed out. The next day we met him at the Oxford Grill on Church St. in Harvard Square. The news came out that Plath committed suicide. Desmond threw his arms around Jack and very dramatically said “We are the only ones left.” Jack said,” Stay away from me.” He was homophobic. The last we saw of him he was walking down Church St. with two Harvard undergraduates looking for the perfect “Gold,” --&lt;br /&gt;marijuana. "&lt;br /&gt;&lt;br /&gt;*The Ibbetson Street Press has released the book "Louisa Solano: The Grolier Poetry Book Shop"by Doug Holder and Steve Glines which can be purchased from Ibbetson Street Press 25 School St. Somerville, Mass. 02143 $10 or through http://lulu.com&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2063763589019148415?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2063763589019148415/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2063763589019148415' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2063763589019148415'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2063763589019148415'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/close-those-goddamn-doors-afternoon.html' title='Close those goddamn doors: An Afternoon With Louisa Solano'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-741419532125679360</id><published>2007-10-30T07:05:00.000-07:00</published><updated>2007-10-30T07:06:15.858-07:00</updated><title type='text'>Jim Kates and the Zephyr Press</title><content type='html'>Jim Kates and the Zephyr Press&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Probably the most significant of small presses birthed in Somerville, Mass. is the “Zephyr Press,” (now based in Brookline, Mass.) that was founded by the late Somerville publisher Ed Hogan. Hogan, started the much-heralded “Aspect,” magazine in the 1970’s. In 1980 he and a group of his editors formed “Zephyr,” and for seven years the press published a small but significant list of poetry, fiction and non-fiction. In 1990, Zephyr published its hallmark collection of Russian poetry: “The Complete Poems of Anna Akhmatova” translated by Judith Hemschemeyer. After this collection of work by this groundbreaking early 20th Century maverick female writer, other titles from Russia followed, as well as the first anthology of Ukrainian writing in English, “From Three Worlds.” With the untimely death of Hogan, Kates, an old friend of Hogan’s, assumed responsibility for the press and relaunched it in 2000. Since then Zephyr has published numerous books of translations, including the work of Nobel-nominated Chinese poet Bei Dao. Zephyr also has an imprint, “Adventures in Poetry,” that publishes fiction and poetry, and they cooperatively publish a British-based journal “Modern Poetry in Translation.&lt;br /&gt;&lt;br /&gt;To interview publisher Jim Kates is no problem because he is an affable man, who seems to have an endless supply of information about the “Zephyr Press,” and the literary world at-large. Kates describes “Zephyr,” as an “alternative” press, an alternative to the commercial presses, who Kates feels has all but abandoned serious literature. Kates realizes that running a “small” independent press is usually a money-losing and often all consuming undertaking. He doesn’t make a living running Zephyr, and the press lives “hand to mouth,” from grants, be it state, federal or private. Zephyr only has one paid employee on staff, and now its office is based in Brookline, Mass.; although it makes no secret of its Somerville roots. The late Ed Hogan, the Somerville publisher was according to Kates “...a child of Somerville, and Somerville was an essential part of his vision.” Unfortunately when Hogan died in a freak canoe accident Zephyr was forced to move to Brookline.&lt;br /&gt;&lt;br /&gt;Asked to remember what the Somerville literary scene in the 1970’s was like, Kates’ memory was somewhat cloudy. However he did mention his memory of the “100 Flower Bookstore,” and Hogan’s wife June Gross’ lit mag. “Dark Horse.” Somerville in the 70’s and 80’s was not like the gentrified city it is today, Kates said. He remembers one poet who got a Cambridge PO BOX, so it wouldn’t be known that she lived in Somerville. “It just looked better to be in Cambridge,” Kates said.&lt;br /&gt;&lt;br /&gt;Since Zephyr published the Akhmatova anthology many subsequent books on the great poet have hit the market. This anthology according to Kates, “opened up the gates,” for the others. Later, June Gross, inspired Kates to publish an anthology of contemporary Russian poets, and more recently Zephyr published the acclaimed Chinese poet Bei Dao. Dao, was a member of the dissident “Misty” poets group in China and has been a champion of Chinese writers. Dao often sends promising Chinese writers ‘Zephyr’s” way. Zephyr published a collection of Dao’s essays concerning his dislocation from his motherland: “Blue House.”&lt;br /&gt;&lt;br /&gt;Surprisingly, American readers are buying Chinese poetry. Another popular title of the press is: “Iraqi Poetry Today,” that gives Americans a much needed window into Iraqi culture.&lt;br /&gt;&lt;br /&gt;Kates and I could have talked much longer. He had a plethora stories about the fiction titles the press has released, and the translation group he is part of. Kates’ enthusiasm is contagious, and after speaking with him I found myself brainstorming for my own small press. Kates brings me back to my belief that a man or a woman who has a true passion for something, is a very lucky person indeed.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-741419532125679360?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/741419532125679360/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=741419532125679360' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/741419532125679360'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/741419532125679360'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/jim-kates-and-zephyr-press.html' title='Jim Kates and the Zephyr Press'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-6649481799004662784</id><published>2007-10-30T07:02:00.001-07:00</published><updated>2007-10-30T07:02:48.731-07:00</updated><title type='text'>Steve Almond: Funny in any language: Interview with Eleanor Goodman</title><content type='html'>Almond: Funny in any language&lt;br /&gt;By Eleanor Goodman &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Steve Almond’s book of essays, “Not That You Asked” has just been published by Random House to widespread praise.  He is the author of two collections of short stories, a candy-centered memoir, and a novel written in collaboration with Julia Baggott.  He also teaches at Grub Street and is the proud father of a baby girl.  He will be one of the featured readers at the Somerville News Writers Festival on Nov. 11. &lt;br /&gt;&lt;br /&gt;Q:  I found your newest book, (Not That You Asked) shelved next to Woody Allen’s latest in the bookstore.  Is this a good thing?&lt;br /&gt;&lt;br /&gt;SA: Yeah, I guess. I’m happy to be in the company of the man who made “Annie Hall.” And we’re both self-doubting Jews with wives who are way too good looking for us. &lt;br /&gt;&lt;br /&gt;Q:  In your book, you quote Kurt Vonnegut as saying, “I think the world is ending.  Our own intelligence tells us we’re perfectly awful animals.” Do you agree with his assessment of humanity?&lt;br /&gt;SA: I agree that human beings can, and do, behave in a perfectly awful manner. Here in America, for instance, we have far more food and energy than we really need, and yet we do very little to help those who don’t have enough. There’s no way to argue that that isn’t cruel. But I remain hopeful that we can behave more decently. Vonnegut himself was an incredibly hopeful, even idealistic, guy. That’s why he was so &lt;br /&gt;&lt;br /&gt;Q:  “Not That You Asked” involves some embarrassing moments in your life.  Do you worry about exposing yourself too much in your writing?  &lt;br /&gt;SA: The path to the truth runs through shame. That’s just how it works. Over the years, I’ve come to find it unburdening to admit what an idiot I’ve been. Because everyone feels like that, at times, on the inside. I’m just saying it out loud.&lt;br /&gt;&lt;br /&gt;Q:  You have published both fiction and non-fiction.  Do you find one better suited to humor than the other?&lt;br /&gt;SA: No. You can be funny in any genre or language. It’s a matter, most often, of forgiving yourself for what a big, fat jerk you, or your characters, have been. It’s a way of telling the truth that doesn’t sting quite so much.&lt;br /&gt;&lt;br /&gt;Q:  Your work is funny in part because you deal with serious topics – politics, the deadening of our culture, fatherhood.  Are there any topics you think have no potential for humor?&lt;br /&gt;SA: Well, I mean, genocide, rape, extreme cruelty — those are not topics that you want to make light of. But the point of comedy isn’t to gloss over tragedy, but sometimes to get us to admit to our own unbearable feelings or fears. That’s why so many great comics, from Richard Pryor to Lenny Bruce, grappled with serious issues.&lt;br /&gt;&lt;br /&gt;Q:  You write beautifully about the terror of becoming a father. Do you still worry about inadvertently killing your daughter Josephine?&lt;br /&gt;SA: Yes, I don’t think that fear ever goes away. It’s a function of responsibility and love crashing into one another. That said, I’m down to about one potential killing a day.&lt;br /&gt;&lt;br /&gt;Q:  How has baby Josephine affected your work?&lt;br /&gt;SA: Well, I get less time to write. But who cares? She totally rocks. I’d rather hang out with her than write most of the time, anyway.&lt;br /&gt;&lt;br /&gt;Q:  You will be appearing at the fifth annual Somerville News Writer’s Festival on Nov. 11 along with Tom Perrotta, Robert Pinsky, and other luminaries.  Have you ever been intimidated by someone you’ve shared the stage with?&lt;br /&gt;SA: Maybe a little. But mostly I’m happy to be able to hear folks like Tom Perrotta or Tim Gager read. It’s just a joy to be there.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-6649481799004662784?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/6649481799004662784/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=6649481799004662784' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6649481799004662784'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6649481799004662784'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/steve-almond-funny-in-any-language.html' title='Steve Almond: Funny in any language: Interview with Eleanor Goodman'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-7573116586625878519</id><published>2007-10-30T06:59:00.001-07:00</published><updated>2007-10-30T06:59:31.880-07:00</updated><title type='text'>POET MARTHA COLLINS PUTS UP A “BLUE FRONT”</title><content type='html'>POET MARTHA COLLINS PUTS UP A “BLUE FRONT”&lt;br /&gt;&lt;br /&gt;Interview with Doug Holder&lt;br /&gt;&lt;br /&gt;Martha Collins, the author of the critically acclaimed poetry collection “Blue Front” ( Graywolf, 2006) walks into a room and exudes energy, intelligence and warmth. Collins who established the Creative Writing Program at U/Mass Boston, and currently holds the Pauline Delaney Chair in Creative Writing at Oberlin College, seems to have abounding enthusiasm for her work and an infectious curiosity about the world-at-large. Born in Omaha Nebraska in 1940, she earned a B.A. at Stanford University and holds a PhD from the University of Iowa. Collins is the author of five books of poetry, a chapbook “Gone So Far,” and two co-translated poetry collections from the Vietnamese. Her honors include fellowships from the National Endowment of the Arts, the Ingram Merrill Foundation and others.&lt;br /&gt;&lt;br /&gt;In her most recent collection “Blue Front,” Collins dissects a lynching her father experienced when he was a child in Cairo, Illinois. I spoke with Collins on my Somerville Community Access TV Show “ Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: The poet Richard Wollman told me he lives the “poetic life.” What would that be for you- and do you live it?&lt;br /&gt;&lt;br /&gt;Martha Collins: I do. I write it. I’m not sure what it is. I think being a poet shapes the way you look at the world. I don’t write all the time. I don’t worry about it. There are periods when what I am doing is figuring out what I am going to do next.&lt;br /&gt;&lt;br /&gt;It is work. It is natural work. It is work that engages me on every level. Both on the intellectual and emotional level.&lt;br /&gt;&lt;br /&gt;So I don’t really know what the “poetic life” is. I am a poet, and my life gets filtered through that fact in ways I don’t even know.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: In your most recent poetry collection “ Blue Front” you dissect a horrible lynching that occurred in your father’s hometown of Cairo, Illinois. How much in detail did you father go into about this event?&lt;br /&gt;&lt;br /&gt;MC: He didn’t say much at all. And when I was much younger I wasn’t asking a lot of questions. Once when I was a child we were driving through Cairo and my father told me that he saw someone hanged there. I had an image of a grizzly, public execution. Later I saw an exhibit of lynching postcards in New York City in 2001. The images were shocking. (This collection is now available online.) There were messages on the back of these cards. People kept them as souvenirs. I came across a series of postcards about the Cairo lynching. And for the first time I realized that this “hanging” that my father saw was a public lynching. By-the-time I came to this awareness my father had passed away—so I couldn’t ask him of course.&lt;br /&gt;&lt;br /&gt;The point-of-view in this book is one of wonder. I did a tremendous amount of research, and used the Illinois State Archives extensively.&lt;br /&gt;I visited Cairo several times.&lt;br /&gt;&lt;br /&gt;DH: Is there a Southern sensibility down there?&lt;br /&gt;&lt;br /&gt;MC. It is very Southern. Cairo is at the very tip of the state, where the Mississippi and Ohio Rivers come together. On one side of one river is Kentucky and the other side Missouri.&lt;br /&gt;&lt;br /&gt;DH: How were you received down there when you were doing your research?&lt;br /&gt;&lt;br /&gt;MC: People down there were terrific. The librarian was extremely helpful. I got into the vault and was able to look at the city directories. I talked to the city treasurer down there who was involved in the short and unsuccessful civil rights movement in Cairo from 1967 to 1973.&lt;br /&gt;&lt;br /&gt;DH: Were you a Civil Rights activist?&lt;br /&gt;&lt;br /&gt;MC: I was not much of an activist. I wasn’t unconcerned but I wasn’t an activist. I really became an activist during the Vietnam War.&lt;br /&gt;&lt;br /&gt;DH: In the poem “Hung” from “Blue Front” you use stripped down language, short staccato bursts of language with great effect:&lt;br /&gt;&lt;br /&gt;“ as a mirror on a wall, or the fall of a dress. A dress, a shirt on a line, to fasten to dry… with rope, like a swing, from a tree… from a pole, like a flag,… in the night, in the air, like a shirt, without, or without, or without only a shirt, without, like an empty sleeve.”&lt;br /&gt;&lt;br /&gt;Was this approach used to convey the shock of the event?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;MC: People asked about the style. I wrote it as I was finding out things. I didn’t know a lot when I started writing. I could not leave the subject alone. I was in Santa Fe on a residency, and I started playing around on the internet. I typed in “lynching,” etc.. The point of view of the book is “wondering.” What happened? I kept approaching it from different angels.&lt;br /&gt;&lt;br /&gt;I obsessed about several aspects of the lynching. I just took a word: hang, shoot, burn, and sort of played with the various meanings of the words. It is a way of trying to get into the subject matter.&lt;br /&gt;&lt;br /&gt;DH: You are known for your translations of Vietnamese poetry. How did you become involved with the language?&lt;br /&gt;&lt;br /&gt;MC: Through a specific poet. This began at the William Joiner Center at U/Mass Boston. The center started as a veterans group in the late 80s’. Later they opened the workshop. From the very beginning they brought Vietnamese to the workshops. One of the amazing things was to see veterans from both sides reading together. I met Nguyen Tang Shih there and wound up translating him.&lt;br /&gt;&lt;br /&gt;DH: Did you actually learn the language?&lt;br /&gt;&lt;br /&gt;MC: I did. Kevin Bowen ( the director of William Joiner) called me up and said there is a course at Harvard and did I want to take it? I said sure. I took Vietnamese for most of a year.&lt;br /&gt;&lt;br /&gt;DH: You are an editor of a literary magazine—right?&lt;br /&gt;&lt;br /&gt;MC: I am the editor of Field magazine. It is published at Oberlin College in Ohio.&lt;br /&gt;&lt;br /&gt;DH: You started the creative writing program at U/Mass Boston. Can you tell me about this?&lt;br /&gt;&lt;br /&gt;MC: I started it in 1979. There were creative writing courses before. What I did was to give it structure.&lt;br /&gt;&lt;br /&gt;DH: Dana Goodyear wrote in the New York Times Book Review of your book “Blue Front” that in least in regard to your syntax you are a language poet.&lt;br /&gt;&lt;br /&gt;MC: I never considered myself in any school. There is an experimental quality in my poetry.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;---Doug Holder&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Martha Collins, the author of the critically acclaimed poetry collection “Blue Front” ( Graywolf, 2006) walks into a room and exudes energy, intelligence and warmth. Collins who established the Creative Writing Program at U/Mass Boston, and currently holds the Pauline Delaney Chair in Creative Writing at Oberlin College, seems to have abounding enthusiasm for her work and an infectious curiosity about the world-at-large. Born in Omaha Nebraska in 1940, she earned a B.A. at Stanford University and holds a PhD from the University of Iowa. Collins is the author of five books of poetry, a chapbook “Gone So Far,” and two co-translated poetry collections from the Vietnamese. Her honors include fellowships from the National Endowment of the Arts, the Ingram Merrill Foundation and others.&lt;br /&gt;&lt;br /&gt;In her most recent collection “Blue Front,” Collins dissects a lynching her father experienced when he was a child in Cairo, Illinois. I spoke with Collins on my Somerville Community Access TV Show “ Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: The poet Richard Wollman told me he lives the “poetic life.” What would that be for you- and do you live it?&lt;br /&gt;&lt;br /&gt;Martha Collins: I do. I write it. I’m not sure what it is. I think being a poet shapes the way you look at the world. I don’t write all the time. I don’t worry about it. There are periods when what I am doing is figuring out what I am going to do next.&lt;br /&gt;&lt;br /&gt;It is work. It is natural work. It is work that engages me on every level. Both on the intellectual and emotional level.&lt;br /&gt;&lt;br /&gt;So I don’t really know what the “poetic life” is. I am a poet, and my life gets filtered through that fact in ways I don’t even know.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: In your most recent poetry collection “ Blue Front” you dissect a horrible lynching that occurred in your father’s hometown of Cairo, Illinois. How much in detail did you father go into about this event?&lt;br /&gt;&lt;br /&gt;MC: He didn’t say much at all. And when I was much younger I wasn’t asking a lot of questions. Once when I was a child we were driving through Cairo and my father told me that he saw someone hanged there. I had an image of a grizzly, public execution. Later I saw an exhibit of lynching postcards in New York City in 2001. The images were shocking. (This collection is now available online.) There were messages on the back of these cards. People kept them as souvenirs. I came across a series of postcards about the Cairo lynching. And for the first time I realized that this “hanging” that my father saw was a public lynching. By-the-time I came to this awareness my father had passed away—so I couldn’t ask him of course.&lt;br /&gt;&lt;br /&gt;The point-of-view in this book is one of wonder. I did a tremendous amount of research, and used the Illinois State Archives extensively.&lt;br /&gt;I visited Cairo several times.&lt;br /&gt;&lt;br /&gt;DH: Is there a Southern sensibility down there?&lt;br /&gt;&lt;br /&gt;MC. It is very Southern. Cairo is at the very tip of the state, where the Mississippi and Ohio Rivers come together. On one side of one river is Kentucky and the other side Missouri.&lt;br /&gt;&lt;br /&gt;DH: How were you received down there when you were doing your research?&lt;br /&gt;&lt;br /&gt;MC: People down there were terrific. The librarian was extremely helpful. I got into the vault and was able to look at the city directories. I talked to the city treasurer down there who was involved in the short and unsuccessful civil rights movement in Cairo from 1957 to 1963.&lt;br /&gt;&lt;br /&gt;DH: Were you a Civil Rights activist?&lt;br /&gt;&lt;br /&gt;MC: I was not much of an activist. I wasn’t unconcerned but I wasn’t an activist. I really became an activist during the Vietnam War.&lt;br /&gt;&lt;br /&gt;DH: In the poem “Hung” from “Blue Front” you use stripped down language, short staccato bursts of language with great effect:&lt;br /&gt;&lt;br /&gt;“ as a mirror on a wall, or the fall of a dress. A dress, a shirt on a line, to fasten to dry… with rope, like a swing, from a tree… from a pole, like a flag,… in the night, in the air, like a shirt, without, or without, or without only a shirt, without, like an empty sleeve.”&lt;br /&gt;&lt;br /&gt;Was this approach used to convey the shock of the event?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;MC: People asked about the style. I wrote it as I was finding out things. I didn’t know a lot when I started writing. I could not leave the subject alone. I was in Santa Fe on a residency, and I started playing around on the internet. I typed in “lynching,” etc.. The point of view of the book is “wondering.” What happened? I kept approaching it from different angels.&lt;br /&gt;&lt;br /&gt;I obsessed about several aspects of the lynching. I just took a word: hang, shoot, burn, and sort of played with the various meanings of the words. It is a way of trying to get into the subject matter.&lt;br /&gt;&lt;br /&gt;DH: You are known for your translations of Vietnamese poetry. How did you become involved with the language?&lt;br /&gt;&lt;br /&gt;MC: Through a specific poet. This began at the William Joiner Center at U/Mass Boston. The center started as a veterans group in the late 80s’. Later they opened the workshop. From the very beginning they brought Vietnamese to the workshops. One of the amazing things was to see veterans from both sides reading together. I met Nguyen Tang Shih there and wound up translating him.&lt;br /&gt;&lt;br /&gt;DH: Did you actually learn the language?&lt;br /&gt;&lt;br /&gt;MC: I did. Kevin Bowen ( the director of William Joiner) called me up and said there is a course at Harvard and did I want to take it? I said sure. I took Vietnamese for most of a year.&lt;br /&gt;&lt;br /&gt;DH: You are an editor of a literary magazine—right?&lt;br /&gt;&lt;br /&gt;MC: I am the editor of Field magazine. It is published at Oberlin College in Ohio.&lt;br /&gt;&lt;br /&gt;DH: You started the creative writing program at U/Mass Boston. Can you tell me about this?&lt;br /&gt;&lt;br /&gt;MC: I started it in 1979. There were creative writing courses before. What I did was to give it structure.&lt;br /&gt;&lt;br /&gt;DH: Dana Goodyear wrote in the New York Times Book Review of your book “Blue Front” that in least in regard to your syntax you are a language poet.&lt;br /&gt;&lt;br /&gt;MC: I never considered myself in any school. There is an experimental quality in my poetry.&lt;br /&gt;&lt;br /&gt;Interview with Doug Holder&lt;br /&gt;&lt;br /&gt;Martha Collins, the author of the critically acclaimed poetry collection “Blue Front” ( Graywolf, 2006) walks into a room and exudes energy, intelligence and warmth. Collins who established the Creative Writing Program at U/Mass Boston, and currently holds the Pauline Delaney Chair in Creative Writing at Oberlin College, seems to have abounding enthusiasm for her work and an infectious curiosity about the world-at-large. Born in Omaha Nebraska in 1940, she earned a B.A. at Stanford University and holds a PhD from the University of Iowa. Collins is the author of five books of poetry, a chapbook “Gone So Far,” and two co-translated poetry collections from the Vietnamese. Her honors include fellowships from the National Endowment of the Arts, the Ingram Merrill Foundation and others.&lt;br /&gt;&lt;br /&gt;In her most recent collection “Blue Front,” Collins dissects a lynching her father experienced when he was a child in Cairo, Illinois. I spoke with Collins on my Somerville Community Access TV Show “ Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: The poet Richard Wollman told me he lives the “poetic life.” What would that be for you- and do you live it?&lt;br /&gt;&lt;br /&gt;Martha Collins: I do. I write it. I’m not sure what it is. I think being a poet shapes the way you look at the world. I don’t write all the time. I don’t worry about it. There are periods when what I am doing is figuring out what I am going to do next.&lt;br /&gt;&lt;br /&gt;It is work. It is natural work. It is work that engages me on every level. Both on the intellectual and emotional level.&lt;br /&gt;&lt;br /&gt;So I don’t really know what the “poetic life” is. I am a poet, and my life gets filtered through that fact in ways I don’t even know.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: In your most recent poetry collection “ Blue Front” you dissect a horrible lynching that occurred in your father’s hometown of Cairo, Illinois. How much in detail did you father go into about this event?&lt;br /&gt;&lt;br /&gt;MC: He didn’t say much at all. And when I was much younger I wasn’t asking a lot of questions. Once when I was a child we were driving through Cairo and my father told me that he saw someone hanged there. I had an image of a grizzly, public execution. Later I saw an exhibit of lynching postcards in New York City in 2001. The images were shocking. (This collection is now available online.) There were messages on the back of these cards. People kept them as souvenirs. I came across a series of postcards about the Cairo lynching. And for the first time I realized that this “hanging” that my father saw was a public lynching. By-the-time I came to this awareness my father had passed away—so I couldn’t ask him of course.&lt;br /&gt;&lt;br /&gt;The point-of-view in this book is one of wonder. I did a tremendous amount of research, and used the Illinois State Archives extensively.&lt;br /&gt;I visited Cairo several times.&lt;br /&gt;&lt;br /&gt;DH: Is there a Southern sensibility down there?&lt;br /&gt;&lt;br /&gt;MC. It is very Southern. Cairo is at the very tip of the state, where the Mississippi and Ohio Rivers come together. On one side of one river is Kentucky and the other side Missouri.&lt;br /&gt;&lt;br /&gt;DH: How were you received down there when you were doing your research?&lt;br /&gt;&lt;br /&gt;MC: People down there were terrific. The librarian was extremely helpful. I got into the vault and was able to look at the city directories. I talked to the city treasurer down there who was involved in the short and unsuccessful civil rights movement in Cairo from 1967 to 1973.&lt;br /&gt;&lt;br /&gt;DH: Were you a Civil Rights activist?&lt;br /&gt;&lt;br /&gt;MC: I was not much of an activist. I wasn’t unconcerned but I wasn’t an activist. I really became an activist during the Vietnam War.&lt;br /&gt;&lt;br /&gt;DH: In the poem “Hung” from “Blue Front” you use stripped down language, short staccato bursts of language with great effect:&lt;br /&gt;&lt;br /&gt;“ as a mirror on a wall, or the fall of a dress. A dress, a shirt on a line, to fasten to dry… with rope, like a swing, from a tree… from a pole, like a flag,… in the night, in the air, like a shirt, without, or without, or without only a shirt, without, like an empty sleeve.”&lt;br /&gt;&lt;br /&gt;Was this approach used to convey the shock of the event?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;MC: People asked about the style. I wrote it as I was finding out things. I didn’t know a lot when I started writing. I could not leave the subject alone. I was in Santa Fe on a residency, and I started playing around on the internet. I typed in “lynching,” etc.. The point of view of the book is “wondering.” What happened? I kept approaching it from different angels.&lt;br /&gt;&lt;br /&gt;I obsessed about several aspects of the lynching. I just took a word: hang, shoot, burn, and sort of played with the various meanings of the words. It is a way of trying to get into the subject matter.&lt;br /&gt;&lt;br /&gt;DH: You are known for your translations of Vietnamese poetry. How did you become involved with the language?&lt;br /&gt;&lt;br /&gt;MC: Through a specific poet. This began at the William Joiner Center at U/Mass Boston. The center started as a veterans group in the late 80s’. Later they opened the workshop. From the very beginning they brought Vietnamese to the workshops. One of the amazing things was to see veterans from both sides reading together. I met Nguyen Tang Shih there and wound up translating him.&lt;br /&gt;&lt;br /&gt;DH: Did you actually learn the language?&lt;br /&gt;&lt;br /&gt;MC: I did. Kevin Bowen ( the director of William Joiner) called me up and said there is a course at Harvard and did I want to take it? I said sure. I took Vietnamese for most of a year.&lt;br /&gt;&lt;br /&gt;DH: You are an editor of a literary magazine—right?&lt;br /&gt;&lt;br /&gt;MC: I am the editor of Field magazine. It is published at Oberlin College in Ohio.&lt;br /&gt;&lt;br /&gt;DH: You started the creative writing program at U/Mass Boston. Can you tell me about this?&lt;br /&gt;&lt;br /&gt;MC: I started it in 1979. There were creative writing courses before. What I did was to give it structure.&lt;br /&gt;&lt;br /&gt;DH: Dana Goodyear wrote in the New York Times Book Review of your book “Blue Front” that in least in regard to your syntax you are a language poet.&lt;br /&gt;&lt;br /&gt;MC: I never considered myself in any school. There is an experimental quality in my poetry.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;---Doug Holder&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Martha Collins, the author of the critically acclaimed poetry collection “Blue Front” ( Graywolf, 2006) walks into a room and exudes energy, intelligence and warmth. Collins who established the Creative Writing Program at U/Mass Boston, and currently holds the Pauline Delaney Chair in Creative Writing at Oberlin College, seems to have abounding enthusiasm for her work and an infectious curiosity about the world-at-large. Born in Omaha Nebraska in 1940, she earned a B.A. at Stanford University and holds a PhD from the University of Iowa. Collins is the author of five books of poetry, a chapbook “Gone So Far,” and two co-translated poetry collections from the Vietnamese. Her honors include fellowships from the National Endowment of the Arts, the Ingram Merrill Foundation and others.&lt;br /&gt;&lt;br /&gt;In her most recent collection “Blue Front,” Collins dissects a lynching her father experienced when he was a child in Cairo, Illinois. I spoke with Collins on my Somerville Community Access TV Show “ Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: The poet Richard Wollman told me he lives the “poetic life.” What would that be for you- and do you live it?&lt;br /&gt;&lt;br /&gt;Martha Collins: I do. I write it. I’m not sure what it is. I think being a poet shapes the way you look at the world. I don’t write all the time. I don’t worry about it. There are periods when what I am doing is figuring out what I am going to do next.&lt;br /&gt;&lt;br /&gt;It is work. It is natural work. It is work that engages me on every level. Both on the intellectual and emotional level.&lt;br /&gt;&lt;br /&gt;So I don’t really know what the “poetic life” is. I am a poet, and my life gets filtered through that fact in ways I don’t even know.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: In your most recent poetry collection “ Blue Front” you dissect a horrible lynching that occurred in your father’s hometown of Cairo, Illinois. How much in detail did you father go into about this event?&lt;br /&gt;&lt;br /&gt;MC: He didn’t say much at all. And when I was much younger I wasn’t asking a lot of questions. Once when I was a child we were driving through Cairo and my father told me that he saw someone hanged there. I had an image of a grizzly, public execution. Later I saw an exhibit of lynching postcards in New York City in 2001. The images were shocking. (This collection is now available online.) There were messages on the back of these cards. People kept them as souvenirs. I came across a series of postcards about the Cairo lynching. And for the first time I realized that this “hanging” that my father saw was a public lynching. By-the-time I came to this awareness my father had passed away—so I couldn’t ask him of course.&lt;br /&gt;&lt;br /&gt;The point-of-view in this book is one of wonder. I did a tremendous amount of research, and used the Illinois State Archives extensively.&lt;br /&gt;I visited Cairo several times.&lt;br /&gt;&lt;br /&gt;DH: Is there a Southern sensibility down there?&lt;br /&gt;&lt;br /&gt;MC. It is very Southern. Cairo is at the very tip of the state, where the Mississippi and Ohio Rivers come together. On one side of one river is Kentucky and the other side Missouri.&lt;br /&gt;&lt;br /&gt;DH: How were you received down there when you were doing your research?&lt;br /&gt;&lt;br /&gt;MC: People down there were terrific. The librarian was extremely helpful. I got into the vault and was able to look at the city directories. I talked to the city treasurer down there who was involved in the short and unsuccessful civil rights movement in Cairo from 1957 to 1963.&lt;br /&gt;&lt;br /&gt;DH: Were you a Civil Rights activist?&lt;br /&gt;&lt;br /&gt;MC: I was not much of an activist. I wasn’t unconcerned but I wasn’t an activist. I really became an activist during the Vietnam War.&lt;br /&gt;&lt;br /&gt;DH: In the poem “Hung” from “Blue Front” you use stripped down language, short staccato bursts of language with great effect:&lt;br /&gt;&lt;br /&gt;“ as a mirror on a wall, or the fall of a dress. A dress, a shirt on a line, to fasten to dry… with rope, like a swing, from a tree… from a pole, like a flag,… in the night, in the air, like a shirt, without, or without, or without only a shirt, without, like an empty sleeve.”&lt;br /&gt;&lt;br /&gt;Was this approach used to convey the shock of the event?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;MC: People asked about the style. I wrote it as I was finding out things. I didn’t know a lot when I started writing. I could not leave the subject alone. I was in Santa Fe on a residency, and I started playing around on the internet. I typed in “lynching,” etc.. The point of view of the book is “wondering.” What happened? I kept approaching it from different angels.&lt;br /&gt;&lt;br /&gt;I obsessed about several aspects of the lynching. I just took a word: hang, shoot, burn, and sort of played with the various meanings of the words. It is a way of trying to get into the subject matter.&lt;br /&gt;&lt;br /&gt;DH: You are known for your translations of Vietnamese poetry. How did you become involved with the language?&lt;br /&gt;&lt;br /&gt;MC: Through a specific poet. This began at the William Joiner Center at U/Mass Boston. The center started as a veterans group in the late 80s’. Later they opened the workshop. From the very beginning they brought Vietnamese to the workshops. One of the amazing things was to see veterans from both sides reading together. I met Nguyen Tang Shih there and wound up translating him.&lt;br /&gt;&lt;br /&gt;DH: Did you actually learn the language?&lt;br /&gt;&lt;br /&gt;MC: I did. Kevin Bowen ( the director of William Joiner) called me up and said there is a course at Harvard and did I want to take it? I said sure. I took Vietnamese for most of a year.&lt;br /&gt;&lt;br /&gt;DH: You are an editor of a literary magazine—right?&lt;br /&gt;&lt;br /&gt;MC: I am the editor of Field magazine. It is published at Oberlin College in Ohio.&lt;br /&gt;&lt;br /&gt;DH: You started the creative writing program at U/Mass Boston. Can you tell me about this?&lt;br /&gt;&lt;br /&gt;MC: I started it in 1979. There were creative writing courses before. What I did was to give it structure.&lt;br /&gt;&lt;br /&gt;DH: Dana Goodyear wrote in the New York Times Book Review of your book “Blue Front” that in least in regard to your syntax you are a language poet.&lt;br /&gt;&lt;br /&gt;MC: I never considered myself in any school. There is an experimental quality in my poetry.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-7573116586625878519?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/7573116586625878519/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=7573116586625878519' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/7573116586625878519'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/7573116586625878519'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/poet-martha-collins-puts-up-blue-front.html' title='POET MARTHA COLLINS PUTS UP A “BLUE FRONT”'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2137566782200117862</id><published>2007-10-30T06:55:00.001-07:00</published><updated>2007-10-30T06:55:37.144-07:00</updated><title type='text'>Feeding My Heart To The Wind: Selected Short Poems. 1999-2005 Michael Kriesel</title><content type='html'>Feeding My Heart To The Wind: Selected Short Poems. 1999-2005 Michael Kriesel. $6. (http://www.sunnyoutside.com/ )&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Dave McNamara, the founder of the Somerville independent press “sunnyoutside,” is not only an editor but a very serious designer of books. The look of the book is almost as important as the contents. McNamara writes of the design of “Feeding My Heart… “ The cover text was set by hand in Alternate Gothic No. 2, along with a linocut by Adrian Rodriquez…” And so on. But it’s all over my head.&lt;br /&gt;&lt;br /&gt;However…these short poems by Kriesel are accessible, tightly written, economical and well-constructed. Kriesel, seems to have studied the short form and serves it to us on a fully fleshed plate. Here is an inspired little ditty “ Cabbage Moths.”&lt;br /&gt;&lt;br /&gt;Walking&lt;br /&gt;Past the garden&lt;br /&gt;&lt;br /&gt;Startled&lt;br /&gt;By confetti&lt;br /&gt;&lt;br /&gt;Rising&lt;br /&gt;Up&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;And in “American Haiku” I can’t but stop thinking about our debacle in Iraq:&lt;br /&gt;&lt;br /&gt;Bull frogs&lt;br /&gt;Stop&lt;br /&gt;To ponder&lt;br /&gt;That last&lt;br /&gt;Cherry bomb&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;This is another tasty poetic morsel from the folks at “sunnyoutside”&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2137566782200117862?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2137566782200117862/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2137566782200117862' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2137566782200117862'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2137566782200117862'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/feeding-my-heart-to-wind-selected-short.html' title='Feeding My Heart To The Wind: Selected Short Poems. 1999-2005 Michael Kriesel'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-950178585873618144</id><published>2007-10-30T06:53:00.001-07:00</published><updated>2007-10-30T06:53:26.564-07:00</updated><title type='text'>Poet Bob Clawson talks about Anne Sexton at the Wilderness House Literary Retreat</title><content type='html'>Poet Bob Clawson talks about Anne Sexton at the Wilderness House Literary Retreat &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Bob Clawson: Sharing his experience with poet Anne Sexton at the Wilderness House Literary Retreat.&lt;br /&gt;&lt;br /&gt;Doug Holder&lt;br /&gt;&lt;br /&gt;On May 19 at the Wilderness House Literary Retreat in Littleton, Mass. poet, writer, journalist, educator Bob Clawson talked with a group of literature lovers about his friendship with the acclaimed, Pulitzer-Prize winning poet, the late Anne Sexton. Clawson showered his audience with his fascinating anecdotes and experiences with Sexton, who wrote “To Bedlam and Part Way Back,” among other critically acclaimed poetry collections.&lt;br /&gt;&lt;br /&gt;Clawson explained that he was teaching English at Weston High School in Weston, Mass. in 1963. He had students read the works of contemporary poets to stoke the interest of his young charges. While reading Sexton’s poem “Menstruation at 40” in the faculty room, the gym teacher asked Clawson if he was a fan of Sexton. When he answered in the affirmative; the teacher said he was a friend of the poet and he would introduce him to her.&lt;br /&gt;&lt;br /&gt;It seems that Sexton lived in Weston, and she eventually invited Clawson for a visit. Clawson described Sexton as being not what he expected for a lady poet of the time. She was certainly not dowdy and was adorned in a shocking pink dress. Eventually Sexton read at Weston High School and was a great hit. They needed a large auditorium to handle the crowd the second time around.&lt;br /&gt;&lt;br /&gt;Sexton campaigned to be Poet-In-Residence at Weston High, but it seems the headmaster felt she shamelessly flirted with him and told Clawson, “We can’t have this here!’&lt;br /&gt;&lt;br /&gt;Clawson was reluctant to talk of Sexton’s mental illness that eventually lead to her suicide. Clawson recalled: “She wasn’t really diagnosed. She told me she heard voices.. Her husband, a wool merchant, was said to have beaten her, which couldn’t help matters.” According to Clawson, Sexton would sometimes call him around midnight and want him come to her house stating “I’m desperate.”&lt;br /&gt;&lt;br /&gt;For such an accomplished poet it is surprising that she never finished college. Clawson said she eloped during junior college and never went back. She was self-educated and widely read. Clawson said he was always under the impression he was speaking with a highly intelligent and knowledgeable person.&lt;br /&gt;&lt;br /&gt;Sexton had eclectic tastes, and could not be placed in one particular school of poetry. She respected Allen Ginsberg, and was not a snob about who she admired. And although she had no formal higher education, she was welcomed with open arms by the academy according to Clawson.&lt;br /&gt;&lt;br /&gt;Later, Clawson, Sexton, and a couple of musicians put together a “chamber rock” group to put Sexton’s poems to music. The group's name: “Anne Sexton and Her kind.” Her poems were adapted to the demands of musical composition. Sexton read while the musicians complimented her with accomplished guitar and bass accompaniment.”&lt;br /&gt;&lt;br /&gt;The group had many gigs from the DeCordova Museum in Lincoln, Mass., Jordan Hall in Boston, to venues throughout the country.&lt;br /&gt;&lt;br /&gt;Sexton found the concerts extremely draining, and could only do a limited amount. But from the musical tapes that Clawson brought in, it was evident that she was an accomplished performer with a beautiful and haunting voice, not to mention breathtaking poetry.&lt;br /&gt;&lt;br /&gt;Doug Holder&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-950178585873618144?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/950178585873618144/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=950178585873618144' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/950178585873618144'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/950178585873618144'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/poet-bob-clawson-talks-about-anne.html' title='Poet Bob Clawson talks about Anne Sexton at the Wilderness House Literary Retreat'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-1737736545825847273</id><published>2007-10-30T06:49:00.000-07:00</published><updated>2007-10-30T06:50:04.342-07:00</updated><title type='text'>Interview with poet Dan Sklar with Doug Holder</title><content type='html'>Interview with Dan Sklar &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Poet Dan Sklar: Author of “Hack Writer” is no “Hack”&lt;br /&gt;&lt;br /&gt;Poet Dan Sklar seems to be a man who enjoys life. He is not a brooding, booze-swilling tortured artist, but a middle-aged man with an engaging smile, and an unabashed love for the written word. Sklar, the author of the poetry collection “Hack Writer” is the head of Creative Writing at Endicott College in Beverly, Mass, the faculty editor of the undergraduate literary magazine “The Endicott Review,” a published poet, playwright, and kibitzer of the first order. Sklar’s poetry has appeared in the “Harvard Review,” “Ibbetson Street” and many small press journals. Sklar is a great admirer of little magazines, and uses them as a teaching tool in his classes at the college.&lt;br /&gt;I talked with Sklar on my Somerville Community Access TV program: “Poet to Poet: Writer to Writer:”&lt;br /&gt;&lt;br /&gt;Doug Holder: Dan being a small press freak myself, I am impressed by use of small press journals in the classroom. What’s the method behind your madness?&lt;br /&gt;&lt;br /&gt;Dan Sklar: I think that students really do better when they read poems from people who are alive. There is an urgency there—a real life urgency. They say: “Hey—I know what that person is talking about.” I mean they dig Walt Whitman and Charles Bukowski, but as Gertrude Stein said “the contemporary is the thing.’ What’s happening in our time—that’s what I like to use. There so many gems out there that someday will be classics.&lt;br /&gt;&lt;br /&gt;DH: What do you read?&lt;br /&gt;&lt;br /&gt;DS: I read every small press magazine I get. I read mostly small press magazines, but yes, I do read “The New Yorker.”&lt;br /&gt;&lt;br /&gt;DH: Any favorite small press journals:&lt;br /&gt;&lt;br /&gt;DS: I like the “Main St. Rag,” and “Free Verse.”&lt;br /&gt;&lt;br /&gt;DH: You have ambitions for an MFA program at Endicott College. You say you want it “non-competitive.” What do you mean by that?&lt;br /&gt;&lt;br /&gt;DS: It’s interesting. Many of these MFA programs say: “highly competitive.” The students are competing against themselves. Our feeling is that students write better when they feel safe. You feel safe to express yourself. You take more risks. You don’t have to best the other guy.&lt;br /&gt;&lt;br /&gt;DH: You know how brutal workshops can be. How will you foster constructive, supportive criticism?&lt;br /&gt;&lt;br /&gt;DS: Someone who is serious about writing will come to it on their own, without me saying anything. The more they read, etc… it will come to pass. I have had students come to me with these poems—and they are bad. They are full of clichés and sentimental. Do you know how many poems end with: “I will love you forever!” With these people, I talk with them and see how serious they are. If they are serious I’ll tell them to take a writing class. I never criticize. Instead of that I ask them to get into details, description etc… If I criticize them too much they will become guarded.&lt;br /&gt;&lt;br /&gt;DH: You write that your playwrighting style is in the “Absurdist” school. Explain.&lt;br /&gt;&lt;br /&gt;DS: I like characters to be so quirky. I want them to say what they are thinking and feeling at the moment. I am not worried about what goes along with the plot. The characters have to be “characters.” I let the characters be who they fully are. But not ordinary.&lt;br /&gt;&lt;br /&gt;The plots always turn out absurd. But they start out ordinary. There are so many plots. But my concern is to have the characters fully imagined.&lt;br /&gt;&lt;br /&gt;DH: In your poem “Something to be a Hack” from your collection “Hack Writer” you use the sight of your son putting your manuscript on a shelf to give the reader an insight into your philosophy of your writing life.&lt;br /&gt;&lt;br /&gt;DS: I’m not sure why I write. I’m not doing it for fame. I am doing it because I am compelled to do it. I didn’t know where I was going with that poem—I just saw my son stacking manuscripts.&lt;br /&gt;&lt;br /&gt;DH: Can you talk about the art/expansion at Endicott, particularly the college’s affiliation with “the new renaissance” lit mag?&lt;br /&gt;&lt;br /&gt;DS: When you approached me about a home for tnr at Endicott, I thought it sounded great—not much chance—but I thought I would try. “the new renaissance” is a wonderful, eclectic magazine. It is a magazine that has art, covers politics, and presents poetry.&lt;br /&gt;&lt;br /&gt;DH: And the new Arts Center?&lt;br /&gt;&lt;br /&gt;DS: Yes a new, big center for the arts is in the making. It will include a Black Box theatre, art studios, high tech publishing workshops, you name it...&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-1737736545825847273?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/1737736545825847273/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=1737736545825847273' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1737736545825847273'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1737736545825847273'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/interview-with-poet-dan-sklar-with-doug.html' title='Interview with poet Dan Sklar with Doug Holder'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3147743591880775685</id><published>2007-10-30T06:46:00.001-07:00</published><updated>2007-10-30T06:47:48.035-07:00</updated><title type='text'>Sparks in the Dark by Jacques Fleury</title><content type='html'>A review by Doug Holder, &lt;br /&gt;&lt;br /&gt;Sparks in the Dark: Lighter Shade Of Blue. A Poetic Memoir. Jacques Fleury. “The Haitian Firefly” $12. Contact: haitianfirefly@yahoo.com&lt;br /&gt;&lt;br /&gt;Jacques Fleury writes that he was born with a humongous head. He reflects: “When my mom was birthing me, I was told that she ran out of the hospital just as I was coming out of the darkness of her womb, valiantly striving to reach the light. So just as I was coming out she made a giant leap for ‘pain kind’ out of bed and bolted out of the door and caught a cab home.”&lt;br /&gt;&lt;br /&gt;Jacques Fleury&lt;br /&gt;&lt;br /&gt;To this day Fleury has a dramatic head both physically and metaphorically. He often adorns it with large hats and outrageous sunglasses that he wears in the dead-of-night. He is an exotic even in Cambridge’s teeming and diverse Central Square. And so is his writing. His poetry is not sedate and understated, but much like a lush, colorful, exotic plume; at times gaudy and blinding, and for the most part joyful in spite of the pain he has suffered in his 30- something years. &lt;br /&gt;&lt;br /&gt;Fleury was born in Haiti and is a working journalist, poet, columnist, and community TV host. His first full poetry collection: “Sparks in the Dark…” is large, ambitious, and covers a lot of ground.&lt;br /&gt;&lt;br /&gt;It’s hard being a Blackman, much less a Haitian Blackman in a white society. Fleury rages against this inequity in his poem: “Unrequited Rage:” &lt;br /&gt;&lt;br /&gt;“How dare you judge me/ my color does not define me/ you should be appalled for Dissing me! / unleash your dirty heart/ you will find me!... / I am only a mere man pregnant with error/ a walking Disaster!!!/ So use me like a mirror, / if you want to see the reflection of your Brother!!!/&lt;br /&gt;&lt;br /&gt;And Fleury knows that the “womb makes the man,” and he urges mothers to treat their children well, or else it’s a short passage to a worldly hell, in his poem: &lt;br /&gt;&lt;br /&gt;“Women! Women From Your Wombs!”&lt;br /&gt;&lt;br /&gt;“Women! Women from your wombs/ you gonna yell to break the spell/ women! Women from your wombs/ you too one day/ face drooping dripping down in the dumps/ with creases like beaten down leather/ established breasts hardened, eager and perky/ like the buds of spring./ swollen like balloons since in your mouth men/ blow bubbles…/ since from your wombs babies are born/ bearing your sins/ and looked down as / fools for sucking in anger/and resentment seeping from/ your congested chests/ have come into this world/ entangled in your mess.”&lt;br /&gt;&lt;br /&gt;Fleury’s work is provocative and evocative, but at times it needs pruning, because it grows like wild jungle vegetation. Of course that might be the point.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3147743591880775685?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3147743591880775685/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3147743591880775685' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3147743591880775685'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3147743591880775685'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/review-by-doug-holder-founding.html' title='Sparks in the Dark by Jacques Fleury'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2064293663021342941</id><published>2007-10-30T06:44:00.001-07:00</published><updated>2007-10-30T06:44:59.944-07:00</updated><title type='text'>Poet Michael Mack Brings His Art to Mental Illness</title><content type='html'>Poet Michael Mack Brings His Art to Mental Illness&lt;br /&gt;&lt;br /&gt;Doug Holder&lt;br /&gt;&lt;br /&gt;In many cases it is said that “great pain brings great art.” In the case of local poet Michael Mack it has a brought a performance piece “Hearing Voices: Speaking In Tongues” that deals with Mack’s experience of growing up with a schizophrenic mother. Mack’s evocative and heart wrenching performance piece engages his genius for words and dramatic&lt;br /&gt;portrayal in dealing with a very tragic disease. He has also penned a poetry collection “Homework” that deals with his less-than-ideal childhood. &lt;br /&gt;&lt;br /&gt;Michael Mack served in the Air Force, and later worked a number of factory and general labor jobs before going back to school and completing a degree in Creative Writing from MIT. His poems have appeared in such journals as: “Beliot Poetry Journal,” “The Cumberland Poetry Journal,” as well as being aired on NPR. He has received grants from the Massachusetts Cultural Council, and other organizations. Mack has performed at New York City’s Midtown International Theatre Festival, Philadelphia Fringe Festival, and the Austin International Poetry Festival. Mack regularly presents his one man play “Hearing Voices…” for consumers and providers of mental health services and for faculty and students of Harvard Medical School.&lt;br /&gt;&lt;br /&gt;Doug Holder: Do you think your mother’s mental illness was responsible for you becoming a poet?&lt;br /&gt;&lt;br /&gt;Michael Mack: I think I would headed somewhere in an artistic direction eventually. But it clearly gives me material to work with. It was certainly the first larger issue that I was writing about. It was compelling for me to delve into it and find some kind of creative expression.&lt;br /&gt;&lt;br /&gt;DH: You are not schizophrenic yourself. How were you able to create this psychotic environment on stage?&lt;br /&gt;&lt;br /&gt;MM: I think that was one of the gifts my mother gave me. A sense of her interior world both by her talking about it and seeing her experience it. I could have sufficient empathy to understand her experience without going through the grueling life of a mentally ill person.&lt;br /&gt;&lt;br /&gt;DH: Do you feel artists are affected to a higher degree by mental illness in comparison to the general public?&lt;br /&gt;&lt;br /&gt;MM: Yes. I believe there is a book out by a psychotherapist Kay Redfield Jameson “Touched With Fire.” Redfield, who is herself afflicted with a Bipolar Disorder, explores the relationship between mental illness and the arts. In this book she looked at the relationship between mental illness and poets. She found there is a higher percentage of poets than other artist who suffer from mental illness.&lt;br /&gt;&lt;br /&gt;DH: You studied with Maxine Kumin, the celebrated Pulitzer-Prize winning poet, when you were at MIT. Can you talk about this experience?&lt;br /&gt;&lt;br /&gt;MM: She saw something in me that I wasn’t able to see yet. Her’s was the third poetry class that I ever had and she gave me a tremendous amount of encouragement. She saw something in my writing that was worth tapping into, worth pursuing. She saw it as rich terrain, and saw the possibility of me doing something with it. She took me under her wing and we developed a friendship. Sometimes I would go to her farm in New Hampshire and help her out with farm work. I think of her as a mentor. She gave me guidance where and when I needed it.&lt;br /&gt;&lt;br /&gt;DH: I have run poetry groups for psychiatric patients for years now. I found the reaction to it often positive and sometimes visceral. And when you perform in state hospitals what ha been your experience?&lt;br /&gt;&lt;br /&gt;MM: My experience I am pleased to say has been tremendously positive. I have presented in a number of state hospital settings, and as you know in these setting folks have been there for a long time. I was really concerned about presenting this work. It is so close to home for them. I was pleased to see the response was positive because it gives voice to their experience. &lt;br /&gt;Before I was to do a show at two hospitals recently I was told that the patients were up and down and easily distracted. But this wasn’t true when I presented this work. It must have been rewarding them to have their experience reflected back to them.&lt;br /&gt;&lt;br /&gt;I present the material in a very loving way. I am very respectful of my mother’s life. I think my mother and father acted heroically in the context of their lives. Neither of them ended up with the life they envisioned for themselves. My father stuck by my mother for longer than most would.&lt;br /&gt;&lt;br /&gt;DH: Did you resent the childhood that you were given?&lt;br /&gt;&lt;br /&gt;MM: When I first wrote about these years ago I experienced a lot of anger. I was angry that I was cheated out of a childhood. But the more I explored the experience I realized that they had a heck of job. All things considered they pulled it together remarkably. It was through the writing of this work I understood both my parents in a much deeper way.&lt;br /&gt;&lt;br /&gt;DH: Were you influenced by Plath and Sexton’s poetry?&lt;br /&gt;&lt;br /&gt;MM: Plath was really my first love. She was the poet I responded to most. Partly because of the experience she was writing about. But also I found a tremendous amount of energy in her writing. I was drawn to both of these poets.&lt;br /&gt;&lt;br /&gt;DH: In your poetry collection: “Homework” you write in the poem “Tardive Dyskinesia” about the involuntary movements of your mother caused by psychiatric medications: &lt;br /&gt;&lt;br /&gt;“On the twigs of her wrists, my mother’s hands&lt;br /&gt;bobolink, titmouse, linnet, finch&lt;br /&gt;&lt;br /&gt;Flutter in her lap, peck her blouse’s buttons&lt;br /&gt;Wagtail, waxwing, solitaire, brambling&lt;br /&gt;&lt;br /&gt;Curl into nests, shivering fists&lt;br /&gt;&lt;br /&gt;rose finch, siskin, tanager…”&lt;br /&gt;&lt;br /&gt;This is almost like a beautifully choreographed dance with mental illness. Do you much unexpected beauty here?&lt;br /&gt;&lt;br /&gt;MM: In a word yes. I think one of the things about my mother’s mental illness that she had insights and a wonderful use of language. It gave me a chance to appreciate the beautiful and surprising ways she used it. The words I used in the poem you mentioned were names of birds. I thought there was something bird-like in her tremors from Tardive Dyskinesia.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2064293663021342941?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2064293663021342941/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2064293663021342941' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2064293663021342941'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2064293663021342941'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/poet-michael-mack-brings-his-art-to.html' title='Poet Michael Mack Brings His Art to Mental Illness'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-6084710057913038289</id><published>2007-10-30T06:39:00.000-07:00</published><updated>2007-10-30T06:41:03.900-07:00</updated><title type='text'>Author loves baseball, Beatles:  Interview with Luke Salisbury</title><content type='html'>Author loves baseball, Beatles&lt;br /&gt;By Doug Holder&lt;br /&gt;&lt;br /&gt;Luke Salisbury is an English professor at Bunker Hill Community College in Boston. Salisbury, 60, is a man with a gift for gab and the well-turned phrase. With his signature rapid-fire cadence and disarming laugh, he can regale you with anecdotes, an impressive knowledge of baseball and his  alternative universe of film, books and political intrigue that he has spent many years pondering and writing about. He is the author of a number of fiction titles including “The Answer is Baseball” (Time Books, 1989), “The Cleveland Indian” (Smith, 1992) and his novel about the great filmmaker D.W. Griffith “Hollywood and Sunset” (2007). His writing has appeared in such publications as The Boston Globe, Ploughshares, Cooperstown Review, Pulp-smith and others.  Salisbury received his M.A. in Creative Writing from Boston University and lives in Chelsea with his wife Barbara. I interviewed Salisbury on my Somerville Community Access Television show “Poet to Poet/ Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: You said the dawn of Elvis and the Beatles liberated you from the buttoned-down, all boys purgatory, prep school world you grew up in. Who were the writers that liberated you when you were coming of age?&lt;br /&gt;&lt;br /&gt;Luke Salisbury: I went away to an all boy’s school when I was fourteen. I hadn’t been a big star with girls in the seventh and eighth grade. I felt I was isolated. I felt that I was never going to get off. There were things that kept my soul together: rock ‘n roll, literature and baseball. My life was changed—saved or ruined—when I read the “ The Great Gatsby” when I was 17. I never wanted to do anything but write a book that good. I never will. Maybe no one else will. The book explains even in the first page the whole world. Its pressures, its nuances, its mystery. Faulkner would be another influence. Why? Because there is something about being a teenager reading something you can barely understand, and you know it is over your head, but by God, you know it is worthwhile. &lt;br /&gt;&lt;br /&gt;DH: Did you feel liberated by any 60s era writers?&lt;br /&gt;&lt;br /&gt;LS: I got that from rock ‘n roll, not from 60s literature. I was not a Jack Kerouac person. I was not reading that stuff as it was being done. Later in the 60s when I really needed to be on an island protected from my own demons and the demons around me, Nabokov became my obsession. I was traveling around Europe in the summer of 1968 buying his paperbacks at kiosks in railroad stations .I was always in an alternative world of baseball, literature and rock ’n roll. I’d love to name some 60s poets but none of them were important as the “Rolling Stones.” And also what I considered classic literature. In the 60s, I spent a long time reading “Tristan Shandy” and “Tom Jones.”&lt;br /&gt;&lt;br /&gt;DH: Did you engage in any of the “excesses” of the era?&lt;br /&gt;&lt;br /&gt;LS: As many as I could. But there were three things going on. Political revolution which I thought was bullshit because I didn’t actually see anyone go out and fighting. Then there was the drug revolution. I always thought I was wrapped a little too tight to do the heavy duty stuff. Then there was the sexual revolution. It was a wonderful time to be a young man, I mean the middle and late 60s, not the stuff that comes to us post “Easy Rider.” Love and peace that stuff was bullshit. It was about resistance. It was about resisting the draft and authority.&lt;br /&gt;&lt;br /&gt;DH: You wrote two assasination novels. One was “Blue Eden.” Did you find the elitist intrigue, the possibilities of nefarious cabals behind the Kennedy assassination a source of fascination?&lt;br /&gt;&lt;br /&gt;LS: It was. Because in the late 60s, I’d sit around and think about the novels I would like to write. I became obsessed with the Kennedy assassination. This stuff happens in front of your face. You don’t know what it is. There is subtext, there are stories. This is raw material. Everybody was taking a crack at it, the big time writers like Mailer and DeLillo. But once you get into it, you can’t get out.&lt;br /&gt;&lt;br /&gt;DH: So who really killed Kennedy?&lt;br /&gt;&lt;br /&gt;LS: I have no idea. Maybe Oswald, but he certainly wasn’t alone. It’s fascinating but it is like drugs and then you go home to detox and get out.&lt;br /&gt;&lt;br /&gt;DH: In a recent book you penned “Hollywood and Sunset” you write of D.W. Griffith, the famed filmmaker, whose signature work was “The Birth of a Nation.” You refer to Griffith and others of his ilk as “sellers of light.” What are novelist’s sellers of?&lt;br /&gt;&lt;br /&gt;LS: Ah… Inner light. All sorts of light. I got interested in Hollywood because it is really the center of power. Basically, D.W. Griffith invented Hollywood. He did everything with the two-dimensional movie that could be done. He made the most racist movie ever produced: “The Birth of a Nation.” It made a huge amount of money and it took advantage of a racist sensibility of the time. What could be more American? You had a frontier of the movies in his time. What happens when America hits the Pacific? We invent a dream-factory Hollywood. So I became very interested.&lt;br /&gt;&lt;br /&gt;DH: How does this American sensibility differ from the European?&lt;br /&gt;&lt;br /&gt;LS: We have to keep moving. We never stop. The past is used up.&lt;br /&gt;&lt;br /&gt;DH: Does obsession help a writer?&lt;br /&gt;&lt;br /&gt;LS: Yes. Who the hell is willing to sit and write a novel and then another novel without it getting published? If they finally do get published, the only people who read them is an obscure reviewer somewhere. But you keep doing it. It is madness. Poets can write a poem in five minutes or five years. There is no way to do this as a novelist. Someone has to support you, or you have to support yourself. Many of us teach. So, yes, obsession helps. But just having obsession doesn’t mean that God will give you success or that you have much talent. But it makes life worth living.&lt;br /&gt;&lt;br /&gt;DH: Many writers work a variety of odd jobs to support themselves. You worked as a security guard for a number of years. How did that help or hinder your writing life?&lt;br /&gt;&lt;br /&gt;LS: While I was a security guard I read “Gravity’s Rainbow,” and “Remembrances of Things Past.” I worked at Polaroid during the night shift. You have to survive if you are a writer, especially if you are not in the generous bosom of a university. Faulkner said the best job for a writer is a piano player at a bordello. The hours are good and there is a lot of interesting company around. I had many jobs in the 70s. I worked in the Welfare Department, I worked for a school board in the Bronx, etc.&lt;br /&gt;&lt;br /&gt;DH: You have taught at Bunker Hill Community College for over 20 years. How has this been?&lt;br /&gt;&lt;br /&gt;LS: I have taught for 22 years, and it’s a great job. The average of the students is 30 years old. People come from everywhere, and there are no yuppies. This isn’t Boston University. The kids and older people don’t think I am an idiot because I don’t make much money. Most of the students at Bunker Hill are there to learn skills, learn English, etc. I don’t think you can do better teaching adults in a public school in a big city. It’s not the hell-hole that “Good Will Hunting” characterized it as.&lt;br /&gt;&lt;br /&gt;DH: You have been published by Harry Smith the legendary small press figure.&lt;br /&gt;&lt;br /&gt;LS: Yes. Harry was basically a poet and published poets. He had a magazine from 1964 to 1998 “The Smith.” He had a policy of publishing unpublished writers. Half the magazine was devoted to their work. I had sent him something in 1970, and he turned it down. Five years later, I sent him something and he sent me back an envelope with a “yes” written across the front. He discovered me and my friend the poet Jared Smith. He help start COSMEP—the seminal small press organization.&lt;br /&gt;&lt;br /&gt;DH: So you have an affinity for the small press?&lt;br /&gt;&lt;br /&gt;LS: Oh yes. There would be a lot less literature if it wasn’t for the small press. Where do we go if we are not one of the 20 people writing novels? I thank God for the small press and the internet. We can find each other here.&lt;br /&gt;&lt;br /&gt;DH: You have written extensively about baseball. Why?&lt;br /&gt;&lt;br /&gt;LS: You get a tremendous amount of respect knowing about sports. Baseball was that alternative world for me. It saved me.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-6084710057913038289?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/6084710057913038289/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=6084710057913038289' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6084710057913038289'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6084710057913038289'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/author-loves-baseball-beatles-interview.html' title='Author loves baseball, Beatles:  Interview with Luke Salisbury'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-5764088112754870092</id><published>2007-10-30T06:37:00.001-07:00</published><updated>2007-10-30T06:37:43.637-07:00</updated><title type='text'>The Pavement Picasso Celebrates the Peoples’ Poet: Jack Powers: Interview with Sidewalk Sam</title><content type='html'>The Pavement Picasso Celebrates the Peoples’ Poet: Jack Powers: Interview with Sidewalk Sam&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The Pavement Picasso Celebrates the Peoples’ Poet: Jack Powers: Interview with &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Sidewalk Sam&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;By Doug Holder&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Sidewalk Sam is a Boston-based street artist, who often uses sidewalks of the Hub as a canvas for his work. Sam believes bringing art to the people through his sidewalk paintings, outreach, and through his organization “Art Street.” So it seemed natural for Sam to be organizing a 70th birthday party for Boston’s poet of the people and founder of the venerable “Stone Soup Poets.” Stone Soup, since it was founded by Jack Powers on the foot of Beacon Hill in Boston in 1971 has been a venue for readings, and publishing. Powers and his band of brothers have published poetry books by folks like the San-Francisco poet and “City Lights” bookstore owner, Lawrence Ferlinghetti, and other known and unknown poets over the years. A slew of poets like Lyn Lifshin, Frannie Lindsay, Gregory Corso have read and passed through these poetic portals. And many more have got their first reading experience at this supportive venue. Currently “Stone Soup” is housed at the ‘Out of the Blue Gallery” 106 Prospect St. Cambridge, Mass., and meets at 8PM. I spoke with Sam on my “Somerville Community Access TV show “Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Doug Holder: I am told John Kerry discovered while you were painting on the street in Boston, and helped you get funding for your organization “Art Street.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Sidewalk Sam: He said: “I want to connect you with a community group you could associate with.” He helped with “Art Street” which is an association of artists, poets, actors, musicians, who go out to the streets of Boston to celebrate humankind.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You are organizing a birthday party for Jack Powers’ the founder of Stone Soup Poets. How his mission does compare to yours?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: I am a voice crying in the desert, making straight to the way of the Lord. And in a way that “Lord” is Jack Powers. Let me explain to you the vital role he plays in the 21st century. Society—modern life has been corrupted by commercialism and abstract giant powers working their will on we the little people. A gentle, giant began to fight out against this some forty or fifty years ago. A man named Jack Powers who was born into the projects of Boston and had every disadvantage given to him, but yet he emerged as a holy man. A visionary, a poet, someone who sees the beauty in daily life. And he brought his poetry out so that he could celebrate all of us. He has been doing this celebration of “you and me’ in his poetry for fifty years, without once thinking of personal gain, without making it an advantage for him, without caring about his own future. He wanted to bring beauty into the world and notice and mark the goodness in people. He has done this more completely than anyone I know in modern day life. He has it done it more than priests and nuns, philosophers, more than politicians. He brings a kind of “love” to “You and Me” and into all the things he does. It is almost a religious experience. What I hope to do is pause on his 70th birthday and have all of us appreciate people like this. Jack has turned every little gesture of everyday life into a prayer.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: How did you first meet Jack?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: I was doing drawings of old master paintings on the sidewalk: Rembrandts, DiVinci and so forth. Jack was reading poets like Ferlinghetti—poets of the Beat Generation. We were both celebrating little acts of consciousness in daily life, and we drawn instantly to each other. This was some fifty years ago when we were both in our late teens. We did not know how to be “great”’ or “imposing” or make it into the cultural scene. We thought that by being good and doing decent things was the way to go.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You were the son of a Harvard professor. Jack was a son of the projects. Interesting chemistry for a friendship, no?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: But we noticed a similarity. Both of us were castoffs, but both of us were believers. I think of the early mystics, knowing their mission, and when they were in touch with a good human being.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: Can you talk about some of the projects you two have been involved with over the years?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: Oh, we had lovely projects. There was a derelict entrance way in the North End that passed under the elevated expressway, only a few short years ago. The Freedom Trail passed under the expressway. It seemed to lose itself in the ghoulish land of the underpass. The underpinnings of the expressway were dark and gooey, dripping and rusted. It was a scab on the city. I didn’t understand why such a place could exist in the entrance to the North End, one of the glorious parts of Boston. This was in the 80’s. We painted the underside of the overpass in bright blue. We painted gold stars on the ceiling and had cherubs flying on the walls. We painted pillars as if they were important cathedral pillars. We painted the sidewalk—we put in flower boxes, we put paintings on the wall, we had poetry and music on the street. The underpass was turned into a delightful place and people in the North End loved it!&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: Jack moved from Beacon Hill to the North End, right?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: Jack lived on Beacon Hill at a time when it was known as: “Beatnik Hill.” He was gorgeous person in that area and era. He was a handsome and noble leader. Every inch a poet.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: Jack was known as a political and poetry activist. He established a food bank at Columbia Point, had poetry on the Boston Commons, started the Beacon Hill Free School, protested the Vietnam War, etc... But he is also a fine poet in his own right.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: I think he is a very good poet. His poetry has a strong sense of spirituality. He makes words special. He has the gift of having a large dramatic vision. But he has the ability to bring it down to the everyday. As an artist using the name: “Jacques Debris,” a genius name, he has used all kinds of left over things on the street and turns them into art. He found a piece of white stone and put it on a pouch on a plaque. This is in my opinion is one of the most beautiful, insightful pieces of art in the city of Boston. Jack has expanded his art into the field of social responsibility.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You talk about rampant commercialism in art today. Do you think artist are more careerist as opposed to the 60’s?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: People have always looked out for themselves as best they could. I think each “age” of people has people looking out for themselves. But what is unique about Jack is that he is almost a saint, in the way he doesn’t look out for himself. He is a holy fool. He is willing to preach to the birds and bees because there is glory in it. He has respect for humans on the tiniest level.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: I was surprised with all that Jack did over the years he never had a teaching position in a university, etc… Do you think the “academy” didn’t know how to take him?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;SS: This is the case. Because he wasn’t self-promoting, he runs the risk of passing away unknown. I think that would be enormous mistake.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-5764088112754870092?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/5764088112754870092/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=5764088112754870092' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5764088112754870092'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5764088112754870092'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/pavement-picasso-celebrates-peoples.html' title='The Pavement Picasso Celebrates the Peoples’ Poet: Jack Powers: Interview with Sidewalk Sam'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2843437882289449995</id><published>2007-10-30T06:32:00.001-07:00</published><updated>2007-10-30T06:32:54.819-07:00</updated><title type='text'>Thunderbird. Alexander Parsons. (sunnyoutside PO BOX 441429 Somerville, Mass. 02144) $10 http://www.sunnyoutside.com</title><content type='html'>Thunderbird. Alexander Parsons. (sunnyoutside PO BOX 441429 Somerville, Mass. 02144) $10 http://www.sunnyoutside.com&lt;br /&gt;&lt;br /&gt;Sunnyoutside, a small press based in Somerville, Mass. has released a chapbook of short fiction by NEA Literary Fellowship recipient Alexander Parsons: “Thunderbird.” This limited edition release is signed by the author, and features a hand-set, letter-press printed cover, hand-stitch binding and prints of six original woodcuts by Boston artist Adrian Rodriguez. The short story “Thunderbird,” appeared in the “Mid-American Review,” in 2003. The story is about a young man who loses his job, girlfriend, health and sanity in a bad car accident. Because of intolerably painful migraines as a result of the accident, the protagonist lets his life slowly slip away:&lt;br /&gt;&lt;br /&gt;“It wasn’t that I stopped thinking about unemployment, eviction, destitution and the rest of respectability’s quick dissolution, but that these thought slowed so much that they stretched into long, unintelligible notes, like those deep, layered chants of Tibetan monks.”&lt;br /&gt;&lt;br /&gt;As it happens our hapless hero hooks up with another lost soul “V.P.,” and begins a sojourn across the country by boxcar like a hobo of yore. Through V.P., a delusional and most likely a psychotic self-proclaimed visionary figure, he gains insight about his own condition and the prison of his mind. In this passage V.P. literally takes flight from the boxcar and his traveling partner:&lt;br /&gt;&lt;br /&gt;“V.P. watched the passing lights intently. He turned to me and grasped my head between his hands as though he meant to crush my skull. “There’s still time to write another act,” he said, squeezing. He released me and I fell back in fear. I was sure he could have killed me. He turned and sprang from our perch. The headlamps of a passing truck pulled him into sharp focus for an instant, illuminating him with his arms outstretched, as if they were willing himself to fly.”&lt;br /&gt;&lt;br /&gt;This is original, provocative writing from a very original small press.&lt;br /&gt;&lt;br /&gt;Doug Holder/Ibbetson Update/ Somerville, Mass. Jan. 2006&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2843437882289449995?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2843437882289449995/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2843437882289449995' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2843437882289449995'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2843437882289449995'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/thunderbird-alexander-parsons.html' title='Thunderbird. Alexander Parsons. (sunnyoutside PO BOX 441429 Somerville, Mass. 02144) $10 http://www.sunnyoutside.com'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-6804815376508380732</id><published>2007-10-30T06:27:00.000-07:00</published><updated>2007-10-30T06:28:26.492-07:00</updated><title type='text'>Irene Koronas: An inventive writer and experimental poet</title><content type='html'>Irene Koronas: An inventive writer and experimental poet&lt;br /&gt;&lt;br /&gt;by Doug Holder&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Irene Koronas (left): With Bagel Bards: Doug Holder, Harris Gardner, and Linda Haviland Conte.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Irene Koronas, like many poets in the area, is a denizen of coffee shops. Some years ago we met at Breuger Bagels in Porter Square, Cambridge, Mass. the birthplace of the Ibbetson Street Press. Later Irene became the scribe for the weekly “Bagel Bards” meeting now held at the Au Bon Pain in Davis Square, Somerville, Mass. Irene is currently the poetry editor for the “Wilderness House Literary Review,” has numerous publication credits, and has read extensively in the area.&lt;br /&gt;&lt;br /&gt;Koronas, who has been creating since age 12, said in an interview with Cambridge Alewife poetry editor Lo Galluccio , that she first explored language by reading and writing poetry, and eventually fell in love with Octavio Paz, Yannos Ritos, and others. Koronas is also a graduate of the Mass. College of Art, and uses her skills to produce her own handmade chapbooks. Her poetry is often accompanied by her art. Koronas is a self-described experimental poet, and she tries to contemplate the meaning, image and representation of symbols and words in all their infinite forms.&lt;br /&gt;&lt;br /&gt;Doug Holder: You describe yourself as an experimental poet. Can you define that?&lt;br /&gt;&lt;br /&gt;Irene Koronas: For me experimental means I like to play with words. I like to use words that I haven’t used myself. I want the reader to look up words and think about them. I’ve been thinking more about what I do. It feels like a grid… my poetry that is. I juxtapose words next to each other. Sometimes it is meaningless. But sometimes it means something. It’s like a painting or grid. The colors positioned next to each other—will change each other.&lt;br /&gt;&lt;br /&gt;Doug Holder: Can talk about whom influences you.&lt;br /&gt;&lt;br /&gt;Irene Koronas. I try to be my own person. I don’t want to be so heavily influenced by everyone else. My mother told me that I was the most gullible child she ever had. Now I am more confident about what I am doing—who I am—and the fact that I like to play. I like to think now. I never had time just to think before. I was always working and raising a family.&lt;br /&gt;&lt;br /&gt;Doug Holder: What do you think about?&lt;br /&gt;&lt;br /&gt;Irene koronas: I think about what words mean, and how to position them. Right now I don’t use punctuation.&lt;br /&gt;&lt;br /&gt;Doug Holder: How has your “outside of the box” work been accepted in the poetry community?&lt;br /&gt;&lt;br /&gt;Irene Koronas: It took awhile for some people to accept the way I am writing. I hang out with people who know what I am doing. But I can write narrative poetry—I have for many years. If I am reading somewhere I consider the audience. Even if poetry is experimental they can relate to the rhythm.&lt;br /&gt;&lt;br /&gt;Doug Holder: You have talked to me about “ageism” in the poetry scene. You are a woman “of a certain age.” How have you been treated?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I will be 65 years old in September. I have gotten used to it. When I turned 60 I really noticed that I wasn’t getting the attention I got when I was younger. It was more physical than anything else. It is not as easy to get younger poets to listen to me. I am a moderator on an experimental poetry internet site. I had to put in my profile that I was a grandmother. I was getting a lot of email from very young experimental poets. I let it go for awhile because it was exciting being exposed to new ideas. It got so that it wasn’t real, so I stopped. It’s hard for some younger people to understand that older poets still experiment.&lt;br /&gt;&lt;br /&gt;Doug Holder: You make beautiful handmade chapbooks. Can you talk about this?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I like to make things. I like the idea of hand making a book. I like to actually hold a book. Everything is about the computer these days. It’s easy for me. I like the sewing of the book…the texture. I don’t make books as often as I used to.&lt;br /&gt;&lt;br /&gt;Doug Holder: Are you as interested in the look of the book as you are the content?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I am as interested in the look of the poem as I am in the content. I am interested in the look of the letters on the page—the whole thing.&lt;br /&gt;&lt;br /&gt;Doug Holder: You are the “scribe” for the “Bagel Bards,” a group of poets and writers that meets at 9AM every Saturday at the Au Bon Pain in Davis Square, Somerville, Mass. You write a weekly column for the Bards. What does being a group “scribe” entail?&lt;br /&gt;&lt;br /&gt;Irene Koronas: Part of my work as an experimental poet is to catch word or phrases on the subway, etc… So at the meetings I catch phrases and conversations and form an essay. Last week we talked about string Theory, prejudice in the 60’s, and then the Holocaust. So I started to think about a single word: “Madness”. I thought about its meaning. When I looked up the word in the dictionary it was defined as “enthusiastic.” That was confusing. So in my column “Word Catcher” I try to make my experimen&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Irene Koronas, like many poets in the area, is a denizen of coffee shops. Some years ago we met at Breuger Bagels in Porter Square, Cambridge, Mass. the birthplace of the Ibbetson Street Press. Later Irene became the scribe for the weekly “Bagel Bards” meeting now held at the Au Bon Pain in Davis Square, Somerville, Mass. Irene is currently the poetry editor for the “Wilderness House Literary Review,” has numerous publication credits, and has read extensively in the area.&lt;br /&gt;&lt;br /&gt;Koronas, who has been creating since age 12, said in an interview with Cambridge Alewife poetry editor Lo Galluccio , that she first explored language by reading and writing poetry, and eventually fell in love with Octavio Paz, Yannos Ritos, and others. Koronas is also a graduate of the Mass. College of Art, and uses her skills to produce her own handmade chapbooks. Her poetry is often accompanied by her art. Koronas is a self-described experimental poet, and she tries to contemplate the meaning, image and representation of symbols and words in all their infinite forms.&lt;br /&gt;&lt;br /&gt;Doug Holder: You describe yourself as an experimental poet. Can you define that?&lt;br /&gt;&lt;br /&gt;Irene Koronas: For me experimental means I like to play with words. I like to use words that I haven’t used myself. I want the reader to look up words and think about them. I’ve been thinking more about what I do. It feels like a grid… my poetry that is. I juxtapose words next to each other. Sometimes it is meaningless. But sometimes it means something. It’s like a painting or grid. The colors positioned next to each other—will change each other.&lt;br /&gt;&lt;br /&gt;Doug Holder: Can talk about whom influences you.&lt;br /&gt;&lt;br /&gt;Irene Koronas. I try to be my own person. I don’t want to be so heavily influenced by everyone else. My mother told me that I was the most gullible child she ever had. Now I am more confident about what I am doing—who I am—and the fact that I like to play. I like to think now. I never had time just to think before. I was always working and raising a family.&lt;br /&gt;&lt;br /&gt;Doug Holder: What do you think about?&lt;br /&gt;&lt;br /&gt;Irene koronas: I think about what words mean, and how to position them. Right now I don’t use punctuation.&lt;br /&gt;&lt;br /&gt;Doug Holder: How has your “outside of the box” work been accepted in the poetry community?&lt;br /&gt;&lt;br /&gt;Irene Koronas: It took awhile for some people to accept the way I am writing. I hang out with people who know what I am doing. But I can write narrative poetry—I have for many years. If I am reading somewhere I consider the audience. Even if poetry is experimental they can relate to the rhythm.&lt;br /&gt;&lt;br /&gt;Doug Holder: You have talked to me about “ageism” in the poetry scene. You are a woman “of a certain age.” How have you been treated?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I will be 65 years old in September. I have gotten used to it. When I turned 60 I really noticed that I wasn’t getting the attention I got when I was younger. It was more physical than anything else. It is not as easy to get younger poets to listen to me. I am a moderator on an experimental poetry internet site. I had to put in my profile that I was a grandmother. I was getting a lot of email from very young experimental poets. I let it go for awhile because it was exciting being exposed to new ideas. It got so that it wasn’t real, so I stopped. It’s hard for some younger people to understand that older poets still experiment.&lt;br /&gt;&lt;br /&gt;Doug Holder: You make beautiful handmade chapbooks. Can you talk about this?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I like to make things. I like the idea of hand making a book. I like to actually hold a book. Everything is about the computer these days. It’s easy for me. I like the sewing of the book…the texture. I don’t make books as often as I used to.&lt;br /&gt;&lt;br /&gt;Doug Holder: Are you as interested in the look of the book as you are the content?&lt;br /&gt;&lt;br /&gt;Irene Koronas: I am as interested in the look of the poem as I am in the content. I am interested in the look of the letters on the page—the whole thing.&lt;br /&gt;&lt;br /&gt;Doug Holder: You are the “scribe” for the “Bagel Bards,” a group of poets and writers that meets at 9AM every Saturday at the Au Bon Pain in Davis Square, Somerville, Mass. You write a weekly column for the Bards. What does being a group “scribe” entail?&lt;br /&gt;&lt;br /&gt;Irene Koronas: Part of my work as an experimental poet is to catch word or phrases on the subway, etc… So at the meetings I catch phrases and conversations and form an essay. Last week we talked about string Theory, prejudice in the 60’s, and then the Holocaust. So I started to think about a single word: “Madness”. I thought about its meaning. When I looked up the word in the dictionary it was defined as “enthusiastic.” That was confusing. So in my column “Word Catcher” I try to make my experimen&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-6804815376508380732?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/6804815376508380732/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=6804815376508380732' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6804815376508380732'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6804815376508380732'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/irene-koronas-inventive-writer-and.html' title='Irene Koronas: An inventive writer and experimental poet'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-5101542255619792691</id><published>2007-10-30T06:26:00.001-07:00</published><updated>2007-10-30T06:26:17.636-07:00</updated><title type='text'>Inside Light by Deborah DeNicola</title><content type='html'>Inside Light by Deborah DeNicola &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Eleanor Goodman is a new reviewer for the Ibbetson Update. She has an M.F.A. from Boston University. She is also a member of the "Bagel Bards," and teacher at Grub Street in Boston.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Inside Light &lt;br /&gt;by Deborah DeNicola&lt;br /&gt;Finishing Line Press&lt;br /&gt;$14.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Art and religion are inextricably intertwined. Poets as diverse as Czeslaw Milosz, Wang Wei, and the Sufi poet Jelaluddin Rumi have attempted to express the inexpressible in their work. In her short collection of poems titled “Inside Light”, Deborah DeNicola makes a lively foray into this tradition. &lt;br /&gt;&lt;br /&gt;The poems, twenty-seven in all, are unified by the common themes of Christianity, family, ekphrasis, and ecstatic experience. DeNicola retells some of the familiar biblical stories from new perspectives, and manages to enliven this well-trodden territory. In “John Baptizing Jesus”, the tone is of feverish discovery: “They say he lived on wild honey and the long torsos / of locusts, that he dressed in fetid camel pelts / and rags, and that he ranted / as if he had a finger in a messianic / socket”.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;This intensity of language serves DeNicola well throughout the book, as does her ability to combine the ancient with the modern – bathtubs with higher beings, molecules with “notes of Gregorian chant”. This grounding in the everyday saves the poems from being overly esoteric, although fortunately DeNicola also allows herself moments of true revelation. In “Last Judgment”, she writes of “those reliquaries deep in the solar plexus, / dousing the fiery fields where fear is eaten whole by risk.” Religious experience speaks to fear, and to fire, and to the sense that the physical body is both intrinsic and vulnerable to the heat. It is an impressive feat that this sense of peril is captured in nearly every poem in the collection.&lt;br /&gt;Vivid detail and creative juxtaposition are also among many DeNicola’s strengths. In “Magdalen”, she writes of “The Sorceress of Magdala, I knew / the patterns of imbalance / which horn beam cured. / Tranquility induced by larch and beech. / Stirring palliatives of aspen and clematis / in a slow boil of weeds, I mixed elixirs for dropsy / and warts.” The consonances running through these lines demonstrate a fine ear for the music of language.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Some of the most touching poems deal with family. In “Mother Incarnate”, DeNicola explores the issues involved in coping with an aging parent with unusual sensitivity and depth. “Proud mother who says outloud nonetheless, / she’s aware of her mind’s decay.” It takes a poet – such a painful profession! – to see in one’s mother “the visible skull behind her smile”.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The lesson to take out of this collection, aside from simply admiring the talent and effort of honesty it took to write it, is expressed in the very first poem, “The Bath Tub Is Optional”. DeNicola writes: “The busyness of quietude, / the eventually banished will, / waftage of oxygen / pouring through pores, new atoms magnetized / till your chanting stills, though the spooks / warbling through your throat rewire you / completely, so you’ll cry at nothing at all / because everything matters.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Eleanor Goodman&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-5101542255619792691?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/5101542255619792691/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=5101542255619792691' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5101542255619792691'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5101542255619792691'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/inside-light-by-deborah-denicola.html' title='Inside Light by Deborah DeNicola'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-5164077429773340446</id><published>2007-10-30T06:23:00.000-07:00</published><updated>2007-10-30T06:24:07.010-07:00</updated><title type='text'>Interview with Tom Perrotta with Doug Holder</title><content type='html'>Interview with Tom Perrotta&lt;br /&gt;&lt;br /&gt;With Doug Holder.&lt;br /&gt;&lt;br /&gt;Tom Perrotta is an American novelist and screenwriter best known for his novels “Election” (1998) and “Little Children”(2004), both of which were made into critically acclaimed, Golden Globe-nominated films. Perrotta co-wrote the screenplay for the 2006 film version of Little Children with Todd Field, for which he received an Academy Award nomination for Best Adapted Screenplay. Perrotta will be the headline featured reader at the Somerville News Writers Festival Nov. 11, 2007. I interviewed Perrotta recently for “The Somerville News.” For information about the Somerville News Writers’ Festival go to: http://www.somervillenewswritersfestival.com &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Doug Holder:Tom for the last twenty-five years I have worked at the psychiatric hospital "McLean Hospital" in your hometown of Belmont, Mass., so I am aware of what the town is like. In your book "Little Children" you seem to fashion the setting after a town much like Belmont. The Boston Globe once opined that Belmont was the most "boring" town in the state. How is it for a writer?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Tom Perrotta: I live about ten minutes from Harvard Square, so my cultural life isn't limited to Belmont.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH:From some of your novels that I read I get a sense of contempt for the 'burbs. Are you of the mindset that the suburbs are the home of "broad lawns and narrow minds" as Hemingway once wrote? &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: I have no contempt for the suburbs whatsoever, and am puzzled when people observe that about the books. I grew up in the suburbs and live there now. "Little Children" isn't so much about a place as it is about a time of life--the period around age 30 when adulthood sets in for good--and about the ambivalence a lot of people of my generation feel about parenthood. Any of the dysfunction found in the suburbs can be found in the city and in the country, too.&lt;br /&gt;&lt;br /&gt;DH: Were you influenced by any of the "chroniclers" of the suburbs such as: Cheever, Richard Yates, or Updike?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: Updike's Rabbit books are a huge influence. I particularly love "Rabbit Redux," the novel in which Updike creates a microcosm of the 60s in one house. I tried, in my own modest way, to achieve something similar in "The Abstinence Teacher."&lt;br /&gt;&lt;br /&gt;DH: Any favorite Somerville-based writers?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: Steve Almond, Pagan Kennedy&lt;br /&gt;&lt;br /&gt;DH: Did you ever dabble in poetry?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: Nope.&lt;br /&gt;&lt;br /&gt;DH:This will be your second appearance in "The Somerville News Writers' Festival". We are quite grateful. I am aware that you will be on tour and will be reading at larger venues, across the country. Do you have a commitment to the local literary community?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: I love the local writing community--I think it rivals any in the country--and I enjoy my hometown events way more than I enjoy being on the road,&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: Are you a frequent visitor to Porter Square Books and McIntyre and Moore?&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: They're both excellent stores, though for some reason I don't get to them as often as I'd like. I end up doing a lot of my book shopping in Harvard Square.&lt;br /&gt;&lt;br /&gt;DH: Can you tell us briefly about your new book: "Abstinence Teacher?"&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;TP: "The Abstinence Teacher" is a novel inspired by the culture war that's been going on for the past twenty years or so. It has two main characters, one a liberal sex education teacher, the other a born-again Christian, who live in the same community, and whose daughters play on the same youth soccer team. The novel explores the separate worlds that they live in, and also tries to shed some light on the things they have in common as well as on the things that divide them.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH:It is a popular notion in literary circles that Hollywood can ruin a writer. William Faulkner said that if you are going to be ruined, you could be ruined anywhere--or words to that affect. What's your take?&lt;br /&gt;&lt;br /&gt;TP: Faulkner spent some time in Hollywood, and it didn't seem to ruin him. I like movies, and I like writing for them. I just don't see any downside to it, as long as I can set aside the time to keep writing fiction.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-5164077429773340446?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/5164077429773340446/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=5164077429773340446' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5164077429773340446'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5164077429773340446'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/interview-with-tom-perrotta-with-doug.html' title='Interview with Tom Perrotta with Doug Holder'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-321074992022954096</id><published>2007-10-30T06:18:00.001-07:00</published><updated>2007-10-30T06:18:24.595-07:00</updated><title type='text'>Ibbetson Pushcart Nominees 2006</title><content type='html'>O'Leary- "Consolation Breakfast At The IHOP" Issue. 19&lt;br /&gt;&lt;br /&gt;Ruth Sabath Rosenthal-- "on yet another birthday." Issue 19.&lt;br /&gt;&lt;br /&gt;Richard Wilhelm-- "Ciborium" Issue 19.&lt;br /&gt;&lt;br /&gt;Sarah Hannah. "The Haunted Suburb." Issue 20.&lt;br /&gt;&lt;br /&gt;Lo Galluccio. "Millennium" Issue 20.&lt;br /&gt;&lt;br /&gt;Marc Goldinger. "Jumping Billie from Cambridge. Issue 20.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-321074992022954096?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/321074992022954096/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=321074992022954096' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/321074992022954096'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/321074992022954096'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/ibbetson-pushcart-nominees-2006.html' title='Ibbetson Pushcart Nominees 2006'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3984849493535921005</id><published>2007-10-30T06:15:00.000-07:00</published><updated>2007-10-30T06:16:27.809-07:00</updated><title type='text'>Ibbetson Press Pushcart Nominees  2007</title><content type='html'>Robert K. Johnson submission editor and myself have made our selections for the Ibbetson Street Pushcart Nominations. ( 2007) Best--Doug Holder/Ibbetson Street Press&lt;br /&gt;&lt;br /&gt;"How To Know A Prairie Poem." Ellaraine Lockie. Issue #21.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"Morning Trek." Michael Keshigian. Issue #22.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"Passages." Linda M. Fischer. Issue #22.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"Diving" Laura Rodley Issue # 22&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"Rhaposdy in Blue" Patricia L. Hamilton Issue #22&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"LOWERED EXPECTATIONS IN THE LOWER 48"&lt;br /&gt;Jared Smith Issue#21&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The Pushcart Prize - Best of the Small Presses series, published every year since 1976, is the most honored literary project in America. Hundreds of presses and thousands of writers of short stories, poetry and essays have been represented in the pages of our annual collections. &lt;br /&gt;Writers who were first noticed here include:&lt;br /&gt;Raymond Carver, Tim O’Brien, Jayne Anne Phillips, Charles Baxter, Andre Dubus, Susan Minot, Mona Simpson, John Irving, Philip Lopate, Philip Levine, and many more. Each year most of the writers and many of the presses are new to the series.&lt;br /&gt;&lt;br /&gt;Our Pushcart Prize editions are found in most libraries and bookstores. Each volume contains an index of past selections, plus lists of outstanding presses.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3984849493535921005?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3984849493535921005/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3984849493535921005' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3984849493535921005'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3984849493535921005'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/ibbetson-press-pushcart-nominees-2007.html' title='Ibbetson Press Pushcart Nominees  2007'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-1403170532744657032</id><published>2007-10-30T02:47:00.001-07:00</published><updated>2007-10-30T02:47:33.047-07:00</updated><title type='text'>Villanueva: A Chicano poet with an eye in many worlds...</title><content type='html'>Tino Villanueva: A Chicano poet with an eye in many worlds... &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Tino Villanueva: A Chicano poet with an eye on many worlds…&lt;br /&gt;&lt;br /&gt;Tino Villanueva is a Chicano writer who according to celebrated poet Martin Espada invented (along with Gary Soto), a new genre of poetry. Espada opines that Villanueva conceived: “…serious literature about farm workers. That in itself guarantees Tino a place in literary history.” Villanueva, who earned a PhD in Spanish Literature, and is a professor at Boston University, does not however live in a literary ghetto of Latino literature. Reginald Gibbons, former editor of Tri- Quarterly magazine wrote that Villanueva has: “… found a way, to write of both worlds (Chicano and Anglo) that makes sense, I believe to all readers, even those who might be interested in one of those worlds or the other.”&lt;br /&gt;&lt;br /&gt;Villanueva has received a 1994 American Book Award for “Scene for the Movie Giant,” and has penned a number of books, including: “Primera Causa/ First Cause,’ “Shaking off the Dark,” and others. He also edited the literary magazine: “Imagine: International Chicano Poetry Journal.”&lt;br /&gt;&lt;br /&gt;I talked with Villanueva on my Somerville Cable Access TV show: “Poet to Poet/Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: What is your experience with political poetry? Do you feel it gets mired in dogma?&lt;br /&gt;&lt;br /&gt;Tino Villanueva: It’s not an easy genre to write in. I’m very wary about it. And I often think what Pablo Neruda said about political poetry. His warning to a young poet was not to begin writing political poetry until he mastered what poetry “is.”&lt;br /&gt;When you start out you think what you write is poetry but it is sloganeering or just propaganda. What Neruda says is politics as well as love, and I would add religion, are three major things that if you want to write about them, you have to “pass through.” You have to have experience in technique and know what poetry is. You may think you are writing a love poem, but it is just gushy, saccarhine and sentimental.&lt;br /&gt;&lt;br /&gt;DH: Were you an “angry young poet?”&lt;br /&gt;&lt;br /&gt;TV: I was born in Texas in 1941. I went into the Service. I served in Panama. When I was a freshman in college I was 24 years old. I graduated in three years. I went to college on the G.I. Bill. When I started writing poetry I felt true love for the poetry of Dylan Thomas. If he was writing about birth and death then that was what I was writing about. He became my mentor. I wanted to sound like him…he had a great voice. He was a marvelous reader.&lt;br /&gt;&lt;br /&gt;Later I became part of the Chicano Movement on campus. We had a Latino Civil Rights Movement from 1965 to 1975. So my poems from this period may show anger. Those types of poems are in my first book that came out in 1972. They were mostly written as an undergraduate and in graduate school.&lt;br /&gt;DH: Are you embarrassed by these early poems?&lt;br /&gt;&lt;br /&gt;TV: There are one or two poems that are salvageable. Some poems I don’t bother reading. With many of the poems I tried to sound like Dylan Thomas. It was important work in that I learned discipline and how to say what I wanted to say. It took me 12 years to write the next book.&lt;br /&gt;&lt;br /&gt;DH: In an article in the Texas Observer it states that your poetry has echoes of French Existentialism, where you insist on the possibilities of creating oneself through choice and will. What have you created?&lt;br /&gt;&lt;br /&gt;TV: I don’t know what the critic meant there. There are some poems in my last three books that show a transformation of a young man struggling out of a disadvantaged background and making something out of himself. He first wanted to be a baseball player because he thought he had a good curve ball. But the scouts never came. He had no idea back then that he would become a poet. But he would save himself that way.&lt;br /&gt;&lt;br /&gt;So in my last two books there are several poems that make reference to this transformation. It is making something out of yourself through sheer will.&lt;br /&gt;&lt;br /&gt;So in my last two books there are several poems that make reference to this transformation. Making something out of yourself through sheer will.&lt;br /&gt;&lt;br /&gt;DH: In a poem of yours you wrote: “I write. I stop writing. I write.” Is this your definition of the writing life?&lt;br /&gt;&lt;br /&gt;TV: When you are hitting it right, yes. When the muse is with you, when the inspiration is with you—those are the moments you have to take advantage of. You hit some dry spots, but you have to get out of it.&lt;br /&gt;&lt;br /&gt;DH: What do you do to get out of writer’s block?&lt;br /&gt;&lt;br /&gt;TV: Well language produces language. I turn on the radio, even if it is a soap opera. I’ll pick up a newspaper. I might hear something that snaps me out of it—a particular turn of phrase. Sometimes I will pick up a book by Ashbery, Elizabeth Bishop, and read work that inspires me.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You are a very accomplished and learned man. Yet you still take courses at the Boston Center for Adult Education, and attend groups like the “Bagel Bards,” a group of poets that meet at the local Au Bon Pain.&lt;br /&gt;&lt;br /&gt;TV: I am always learning something. Intelligent talk always helps me write or snap out of a block.&lt;br /&gt;&lt;br /&gt;DH: Do you write in cafes?&lt;br /&gt;&lt;br /&gt;TV: I am not a café sitter. When I am in Barcelona or Madrid, but not Boston.&lt;br /&gt;&lt;br /&gt;DH: Is writing natural or “organic” for you?&lt;br /&gt;&lt;br /&gt;TV: I’ll quote from James Dickey: “We all have ideas about what we want to write about. It takes 10% inspiration and 90% perspiration.” We’ll, you have ideas I am sure—you have to figure out how to express them—you have to figure out how you are going to transfer it on the page. What kind of images you are going to present? I am full of ideas but I have to find the words. I have to work to find the words. It is not easy.&lt;br /&gt;&lt;br /&gt;DH: How was it being a Latino-American in the Academy?&lt;br /&gt;&lt;br /&gt;TV: Well I had no role models. I was treated well in Buffalo and Boston. I felt welcomed. At Wellesley College I taught the first Chicano Lit. course in 1978.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-1403170532744657032?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/1403170532744657032/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=1403170532744657032' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1403170532744657032'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/1403170532744657032'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/villanueva-chicano-poet-with-eye-in.html' title='Villanueva: A Chicano poet with an eye in many worlds...'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3645452633854638800</id><published>2007-10-30T02:43:00.001-07:00</published><updated>2007-10-30T02:43:47.317-07:00</updated><title type='text'>BUTTONED INTO HISTORY by Richard Moore</title><content type='html'>BUTTONED INTO HISTORY by Richard Moore &lt;br /&gt;&lt;br /&gt;BUTTONED INTO HISTORY by Richard Moore&lt;br /&gt;Pivot Press, 2006 &lt;br /&gt;$12.00 | ISBN 0-9726582-8-9 &lt;br /&gt;&lt;br /&gt;Reviewed by Eleanor Goodman&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;After William Carlos Williams and Wallace Stevens, after the advent of language poetry, post-language poetry, free verse confessional poetry and the prose poem, metrics have become dangerous territory. Most of the poetry being published today is unrhymed. Much of it lacks meter, or, some might argue, any rhythmic precision at all. (The work of Maxine Kumin and Richard Wilbur being among the major exceptions.) To our modern ear, blank verse has come to sound stilted, while trimeter and tetrameter remind us of nursery rhymes. Young poets chafe against the restrictions of rhyme schemes and the potentially deadening regularity of iambs.&lt;br /&gt;Enter Richard Moore. Moore is not a young poet, nor is he afraid of traditional verse. “Buttoned Into History” is his eleventh book of poetry, and his energy shows no sign of flagging. These poems are fierce and pointed, but full of humor and intelligence. Almost all the poems are in rhyme, but for all the seeming formality, they feel loose, and at appropriate moments even slapdash. The greatest skill in employing poetic form is to make the strictures conform to the poem and not the reverse. Moore succeeds in this with surprise ease.&lt;br /&gt;Notice the adroit use of feminine endings in the beginning stanza of “Politics”, one of the first poems in the book:&lt;br /&gt;&lt;br /&gt;O it’s so dumb to mix&lt;br /&gt;science with politics!&lt;br /&gt;Our Parties think man’s curse is&lt;br /&gt;various universes,&lt;br /&gt;the way it all expands,&lt;br /&gt;ordained, out of our hands.&lt;br /&gt;Laborites think our fate&lt;br /&gt;lies in the Steady State,&lt;br /&gt;whereas the other gang&lt;br /&gt;believes in the Big Bang.&lt;br /&gt;Gutsy the lad who lives&lt;br /&gt;with those Conservatives:&lt;br /&gt;their cosmos mere erosion&lt;br /&gt;after God’s mad explosion.&lt;br /&gt;&lt;br /&gt;The unstressed last syllable in “curse is” / “universes” and “erosion” / “explosion” provide a welcome break to the singsong regularity of trimeter, and we know immediately that we are in experienced hands.&lt;br /&gt;Politics is a major theme of the book. Moore is, to put it mildly, disenchanted with the current political scene. Here is the third section of “Three Little Money Songs”, with the heading “For the Inauguration of President Bush, the Second”:&lt;br /&gt;&lt;br /&gt;Purchasing power, grab her, grasp,&lt;br /&gt;and celebrate money’s last gasp.&lt;br /&gt;Soon power naked – she’s a teaser – &lt;br /&gt;will woo us. All Rome loved you, Caesar.&lt;br /&gt;&lt;br /&gt;What else need be said?&lt;br /&gt;When Moore’s topic ranges beyond politics, the poems seem to breathe a bit more, although he maintains his impressive formal technique throughout. One of the risks of rhymed verse is coming to rely too much on end-rhyme to create the music of the poem. Moore’s diction – ranging from the lowbrow (“soon we’re talking dirty”) to references to Sophocles and the great Ukrainian writer Gogol – occasionally does fall into flatness within a given line. When he strives for alliterative intensity, however, he achieves it – and how. His internal rhymes and assonance are reminiscent of the lamentably neglected poet Louis MacNeice, who could rewrite an insurance brochure and make it sparkle with linguistic ingenuity. Here is Moore’s gorgeous “Breakfast in Sussex”:&lt;br /&gt;&lt;br /&gt;The sunlight splashes, fills&lt;br /&gt;with glitter our tilled hills,&lt;br /&gt;tractor-chopped, clipper-clipped,&lt;br /&gt;and busy farmer-whipped,&lt;br /&gt;their last ounce of production&lt;br /&gt;sucked out by all that suction.&lt;br /&gt;&lt;br /&gt;Our green mammary mounds&lt;br /&gt;where sheep with soothing sounds&lt;br /&gt;through hedge openings pass&lt;br /&gt;like grains through an hourglass – &lt;br /&gt;thus human life engages&lt;br /&gt;the great machine, the ages;&lt;br /&gt;&lt;br /&gt;and pulled to pieces...hush!&lt;br /&gt;Breakfast is over. Brush,&lt;br /&gt;as far as you are able,&lt;br /&gt;metaphors off the table,&lt;br /&gt;see what the world becomes.&lt;br /&gt;A firmament of crumbs.&lt;br /&gt;&lt;br /&gt;There is philosophical intensity in this as well. Without the glue of metaphor, into which all language inevitably degrades, the world crumbles. Language is a necessary screen over experience, a filter through which our thoughts travel into the world. But these thoughts themselves are metaphors, methods of interpretation. Without our constant self-talking, what world is left? What silence?&lt;br /&gt;Moore’s poetry encourages such philosophizing. It encourages strong reaction, moments of aesthetic pleasure, moments of laughter. Moore accomplishes what all poets hope to accomplish with their work: he encourages us to be more human. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Eleanor Goodman/Ibbetson Update&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3645452633854638800?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3645452633854638800/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3645452633854638800' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3645452633854638800'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3645452633854638800'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/buttoned-into-history-by-richard-moore.html' title='BUTTONED INTO HISTORY by Richard Moore'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3050282465855411972</id><published>2007-10-30T02:37:00.001-07:00</published><updated>2007-10-30T02:37:56.010-07:00</updated><title type='text'>Interview with poet Sarah Hannah: A Poet within “Longing Distance”</title><content type='html'>Saturday, February 25, 2006&lt;br /&gt;Interview with poet Sarah Hannah: A Poet within “Longing Distance”&lt;br /&gt;&lt;br /&gt;Sarah Hannah is an educator, a poet with a PhD from Columbia University, and a sometimes rock musician. Her poems have appeared in “Barrow Street,” “Parnassus,” “Gulf Coast,” “Crab Orchard Review,” and others. Her original manuscript which became her first poetry collection “Longing Distance,” was a semi-finalist for the “Yale Younger Poets Prize,” in 2002. Anne Dillard describes her collection as: “…an extremely moving work. I’m struck by her intelligence of emotion and her unmistakable voice…Sarah Hannah is a true original.” She currently resides with her husband in Cambridge and teaches at Emerson College in Boston. She was a guest on my Somerville Community Access TV show “Poet to Poet/Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: Can you tell us about the “Yale Younger Poets Prize” which “Longing Distance,” was a semi-finalist for?&lt;br /&gt;&lt;br /&gt;Sarah Hannah: That was a sort of near miss. That was in 2002. That was the year Tupelo Press accepted my book. I found out I was a runner up by phoning the editor, (not the judge) who was W.S. Merwin. The editor told me he remembered the book, and it was a semi-finalist, and it was a strong book.&lt;br /&gt;&lt;br /&gt;Doug Holder: A lot of folks claim a PhD can ruin a poet. You learn how to write academic papers, but you forget how to write poetry. This does not seem to be the case with you.&lt;br /&gt;&lt;br /&gt;Sarah Hannah: It ruined me in the sense that while I was writing my dissertation, I felt that I didn’t have time to write poetry. But I think the PhD made me a better poet. It forced me to really study poetry deeply. You have to grapple with ideas that are foreign to you. You read more than just contemporary poets. You learn to become a better writer.&lt;br /&gt;&lt;br /&gt;Some people become sidetracked. They go into a PhD program and they emerge as critics not poets. There are more people around than you think that are poets and scholars.&lt;br /&gt;&lt;br /&gt;Doug Holder: How did you come up with the title for your collection “Longing Distance?”&lt;br /&gt;&lt;br /&gt;Sarah Hannah: I was writing a series of sonnets about a messed up love affair. You know “absence makes the heart grow fonder,” an all those clichés. So I came up with a line while I was in the country watching my husband scale a rock. I thought of the line: “I keep you at longing distance.” I thought it was just going to be another sonnet in the sequence. I wrote the sonnet, but then wound up expunging it from the book. I kept “Longing Distance,’ as the title.&lt;br /&gt;&lt;br /&gt;Doug Holder: From our email exchanges I get the impression you haven’t had an easy life.&lt;br /&gt;&lt;br /&gt;Sarah Hannah: I lived a hardscrabble life. I’ve seen life disintegrate . I wanted to put back my experiences in more metaphysical or formal terms.&lt;br /&gt;&lt;br /&gt;I grew up in Newton, Mass., in the Waban section. A lot of neurosis going on there. I would say seven out of my eight high school friends were bulimic. I was not. My mother was hospitalized at the same “summer hotel” Anne Sexton visited.&lt;br /&gt;&lt;br /&gt;Doug Holder: How does your teaching at Emerson College fit with your poetry?&lt;br /&gt;&lt;br /&gt;Sarah Hannah: It’s fitting beautifully because I am teaching poetry, as opposed to composition. I am teaching traditional form to graduate and undergraduate students. I teach a hybrid literature and writing course.&lt;br /&gt;&lt;br /&gt;Doug Holder: Why did you move from the bright lights and big city of New York to the more provincial environs of Boston?&lt;br /&gt;&lt;br /&gt;Sarah Hannah: I am a lover of the underdog. Boston is the underdog to New York. I felt I had to come back. You know: “My end is my beginning, my beginning my end.” I have always missed Boston. I am a loyal person that way. My husband and I purchased a house in Cambridge. It’s right in the Central Square area. It’s a very diverse city. I often write at the ‘1369” Coffee Shop or ‘Grendel’s Den,” in Harvard Square. I feel rooted here.&lt;br /&gt;&lt;br /&gt;Doug Holder: How does the lit scene here compare to the “Big Apple?”&lt;br /&gt;&lt;br /&gt;Sarah Hannah: There are a lot of readings here like N.Y. I lived in N.Y. for 17 years. It took me 8 years to get “out” there. It seems much faster out here. I have a book though, that makes a difference. I was worried. It took a long time for me to establish myself in New York City. But I didn’t loose my contacts because I maintained my connection to the journal “Barrow Street,” and now I am an editor there.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Eclipse&lt;br /&gt;&lt;br /&gt;Every so often I am dilated; the pupilsSwallow everything—a catchall soup,Two cauldrons, stubborn in the bald glare&lt;br /&gt;Of bathroom light. They are hunting sleep—The sea grass, the blue cot rocking;In sleep I am a Spanish dancer,&lt;br /&gt;Awaiting my cue at the velvet curtain,Now and then groping for the sash,Or on horseback, abducted, thumping&lt;br /&gt;Through pampas. I sleep too much;I curl in at midday, sheepish,In strange rooms. Clouds are hurrying by—&lt;br /&gt;The walls, a wash of white; still my eyesAre mazing through their dark gardens,The great lamp shut, the crescents duplicating.&lt;br /&gt;It is only a temporary state of affairs.The sun boils behind the moon.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3050282465855411972?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3050282465855411972/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3050282465855411972' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3050282465855411972'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3050282465855411972'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/interview-with-poet-sarah-hannah-poet.html' title='Interview with poet Sarah Hannah: A Poet within “Longing Distance”'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-2725396255714102602</id><published>2007-10-30T02:28:00.000-07:00</published><updated>2007-10-30T02:29:40.521-07:00</updated><title type='text'>No One Dies at the Au Bon Pain by Doug Holder</title><content type='html'>Laurel Johnson reviews are new to our blog. Laurel regularly reviews for Pedestal and the Midwest Book Review. She tells me this review will appear in the Midwest Review.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;No One Dies at the Au Bon Pain&lt;br /&gt;By Doug Holder&lt;br /&gt;ISBN 978-1-934513-00-2&lt;br /&gt;28 page chapbook at $8&lt;br /&gt;sunnyoutside&lt;br /&gt;P.O. Box 441429&lt;br /&gt;Somerville MA 02144&lt;br /&gt;&lt;br /&gt;Doug Holder is founder of Ibbetson Street Press, small press activist, champion of unknown poets, and a poet himself. He wears his many hats with panache. In this chapbook he shares a sense of longing for what was and a sometimes reluctant acceptance of what is: Humans are vulnerable, and mortal.&lt;br /&gt;&lt;br /&gt;Holder’s thoughts are expressed with a simple power. These excerpts from “Am I a Man of Bone or Flesh?” reflect that power. How does the world see him?&lt;br /&gt;&lt;br /&gt;Can you still &lt;br /&gt;feel my supple flesh,&lt;br /&gt;like a fruit’s&lt;br /&gt;skin blushing&lt;br /&gt;with ripeness?&lt;br /&gt;&lt;br /&gt;…still I am more&lt;br /&gt;than brittle bone,&lt;br /&gt;the cold&lt;br /&gt;unfeeling face&lt;br /&gt;of glacial stone.&lt;br /&gt;&lt;br /&gt;Consider the first verse of “Why Did He Leave Her” to understand how a skillful poet puts words together:&lt;br /&gt;&lt;br /&gt;Because of the terminal&lt;br /&gt;certainty of the itinerary --&lt;br /&gt;his course redlined&lt;br /&gt;with an actuary’s passionless&lt;br /&gt;calculation,&lt;br /&gt;a replay of his father’s descent.&lt;br /&gt;&lt;br /&gt;“Glaucoma” is my sentimental favorite, perhaps because the experience is all too familiar. I quote this poem in its entirety because a poet sees with more than just his eyes:&lt;br /&gt;&lt;br /&gt;And how those angelic halos&lt;br /&gt;around the streetlights&lt;br /&gt;change&lt;br /&gt;to an homage of&lt;br /&gt;nefarious intent.&lt;br /&gt;&lt;br /&gt;The pressure&lt;br /&gt;the threat&lt;br /&gt;builds&lt;br /&gt;and those images&lt;br /&gt;of her smile,&lt;br /&gt;&lt;br /&gt;the Maine coast,&lt;br /&gt;the surf jumping&lt;br /&gt;the rocks&lt;br /&gt;as its mussels maintain&lt;br /&gt;a tight grip.&lt;br /&gt;&lt;br /&gt;And I don’t see&lt;br /&gt;in wanton gulps&lt;br /&gt;but I sip&lt;br /&gt;baby&lt;br /&gt;&lt;br /&gt;I sip.&lt;br /&gt;&lt;br /&gt;Holder’s work here is rich with textual imagery. A stranger’s laugh becomes an “astringent mixture of the hilarious and sinister.” Rain is a “spectral tapping on the roof.” These are words of a master poet who sees the world clearly and shares that vision generously with readers.&lt;br /&gt;&lt;br /&gt;Review by Laurel Johnson&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-2725396255714102602?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/2725396255714102602/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=2725396255714102602' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2725396255714102602'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/2725396255714102602'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/no-one-dies-at-au-bon-pain-by-doug.html' title='No One Dies at the Au Bon Pain by Doug Holder'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-8267211187959030033</id><published>2007-10-30T02:21:00.000-07:00</published><updated>2007-10-30T02:22:40.985-07:00</updated><title type='text'>Rusty Barnes talks about the writing life on the “Night Train”</title><content type='html'>Rusty Barnes talks about the writing life on the “Night Train” &lt;br /&gt;&lt;br /&gt;Rusty Barnes talks about the writing life on the “Night Train”&lt;br /&gt;&lt;br /&gt;Rusty Barnes cofounder of the acclaimed literary magazine “Night Train” grew up in rural Appalachia. He earned his M.F.A. from Emerson College in Boston. His poetry, fiction, and nonfiction have appeared in such journals as GUD, Red Rock Review, and others. &lt;br /&gt;Suunyoutside (Buffalo, NY) will be publishing a book of his flash fiction due to be released this winter. I talked with Barnes on my Somerville Community Access TV Program “Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Doug Holder: Could you talk a bit about the genesis of “Night Train” magazine?&lt;br /&gt;&lt;br /&gt;Rusty Barnes: Well we got some capital together and nine months later we birthed an issue. We had great expectations. We printed 1,000 copies of our first issue and sold 400. We found out later, after we beat ourselves up a bit, that number of sales was pretty good. We managed to scale ourselves down a bit and then build up. We bought in a couple of people to be involved in the PR end of things. We landed a half page article in the New York Times (Long Island edition). We branded the name “ Night Train.” We sort of became branded nationally.&lt;br /&gt;&lt;br /&gt;DH: Why did you go from a print to an online magazine?&lt;br /&gt;&lt;br /&gt;RB: We published issue 6 in March of 2006. Our staff consists of:&lt;br /&gt;&lt;br /&gt;Fiction Editor: Alicia Gifford&lt;br /&gt;Poetry Editor: Cami Park&lt;br /&gt;Associate Editor: Zett Aguado&lt;br /&gt;Associate Editor: Heather Sullivan&lt;br /&gt;Original Graphic and Logo Designer: Souxsie Campbell&lt;br /&gt;Cover Photographer: Darlene DeVita&lt;br /&gt;Web Guru: Kaolin Fire &lt;br /&gt;&lt;br /&gt;It became clear that we needed a cheaper business model. Fundraising was 85% of what I was doing. I said let’s switch to an online format and a print-on-demand production method.&lt;br /&gt;&lt;br /&gt;I credit that with the initial push we made. We started peppering the world with press releases. We did this by sitting by fax machines for hours at a time. We did massive emails, and Internet bulletin boards. I took every speaking engagement that I could; even non-paid. I spoke at Emerson College. I spoke to Grub Street. You have to be aggressive. You have to press the flesh. It’s the name of the game you have to do it.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You had or still have the “Richard Yates Award.” Yates wrote “Revolutionary Road” and other works. Why use him as a focal point?&lt;br /&gt;&lt;br /&gt;RB: “Revolutionary Road” is being made into a movie. I know that Kate Winslet will be in the film.&lt;br /&gt;&lt;br /&gt;My interest with Yates started in graduate school. I had to take my comprehensive exam. My class was among the last to take these tastes. One part of the exam concerned Richard Yates. “Eleven Kinds of Loneliness,” was one of those works I fell in love with, and I began to read everything I could find. Later we published in “Night Train” an excerpt from a biography of Richard Yates: “ Tragic Honesty.”&lt;br /&gt;&lt;br /&gt;I guessed what I like about Yates is his fidelity to real life detail. You can look at his characters and you could see the way you act in the world. His detail—his fiction rang true. I think he was a masterful writer when it came to sentimentality. There is always a line you risk crossing when you write like that. He wrote breathtaking books, but never maudlin. We decided if we were going to have a contest in honor of anyone it would be Yates.&lt;br /&gt;&lt;br /&gt;DH: Are you more at home with poetry or fiction?&lt;br /&gt;&lt;br /&gt;RB: I have been solely a fiction writer for twenty years. I found myself during National Poetry Month thus year joining a program where you write a poem everyday. I wasn’t having much luck with my fiction at the time. I was at sort of a stand still. But I have written nothing but poetry since. I really don’t have any desire to write fiction at this time. I have switched gears.&lt;br /&gt;&lt;br /&gt;Poetry is more fun than poetry. Fiction is work for me. My poetry tends toward the everyday. I have a lot of natural details. I have wonder and amazement with the world.&lt;br /&gt;&lt;br /&gt;DH: Whom did you study under at Emerson College?&lt;br /&gt;RB: I had an instructor named Christopher Tillman who wrote a series of great books such as “In A Father’s Place,” and “The Way People Run.” Through him I was introduced to the works of Andre Dubus and De Witt Henry. Henry was instructed by Yates at the Iowa Writers’ Workshop. So if I could be so bold, I could considered to be one of the long line of writers to be influenced by Yates.&lt;br /&gt;&lt;br /&gt;DH: You grew up in Appalachia. This is not known as a hotbed of literary activity. How did you become interested in writing?&lt;br /&gt;&lt;br /&gt;RB: My father wrote poetry. He never tried to publish any of it. I knew it was something he was interested in. He was a construction worker. I became a reader early on. It became very clear early in my life that whatever I was going to do, it was going to be involved with words. I wrote a lot of childish poetry at first. I was lucky to have a really good public school education. My teachers always encouraged me. It was clear that it was my destiny to get out in the world.&lt;br /&gt;&lt;br /&gt;DH: Does much of your fiction take place in the place you grew up in?&lt;br /&gt;&lt;br /&gt;RB: Much of my work has been focused on the area I grew up in. I guess because I had to write my way through it.&lt;br /&gt;&lt;br /&gt;DH: How was it for you at Emerson College. It was quite different from what you were accustomed to, no?&lt;br /&gt;&lt;br /&gt;RB: I knew I was a writer. But I hadn’t announced it. I walked into my first class with a trucker’s hat and a flannel shirt. I was amidst these East Coast intellectuals. I was a fish-out-of-water, and I had to spend a lot of time adjusting. I was well treated throughout my program. It was clear that this was not the milieu I was used to.&lt;br /&gt;&lt;br /&gt;DH: Sunnyoutside press, formerly of Somerville, Mass. now of Buffalo, NY, is publishing a collection of your flash fiction. What is flash fiction?&lt;br /&gt;&lt;br /&gt;RB: I got involved with Dave McNamara and the sunnyoutside press http://www.sunnyoutside.com because I was interested in doing a chapbook of my own work. The more we got to talk the more he got interested in my work. He thought I could get together a good book, be active in the community and get some sales.&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;Rusty Barnes talks about the writing life on the “Night Train”&lt;br /&gt;&lt;br /&gt;Rusty Barnes cofounder of the acclaimed literary magazine “Night Train” grew up in rural Appalachia. He earned his M.F.A. from Emerson College in Boston. His poetry, fiction, and nonfiction have appeared in such journals as GUD, Red Rock Review, and others. &lt;br /&gt;Suunyoutside (Buffalo, NY) will be publishing a book of his flash fiction due to be released this winter. I talked with Barnes on my Somerville Community Access TV Program “Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Doug Holder: Could you talk a bit about the genesis of “Night Train” magazine?&lt;br /&gt;&lt;br /&gt;Rusty Barnes: Well we got some capital together and nine months later we birthed an issue. We had great expectations. We printed 1,000 copies of our first issue and sold 400. We found out later, after we beat ourselves up a bit, that number of sales was pretty good. We managed to scale ourselves down a bit and then build up. We bought in a couple of people to be involved in the PR end of things. We landed a half page article in the New York Times (Long Island edition). We branded the name “ Night Train.” We sort of became branded nationally.&lt;br /&gt;&lt;br /&gt;DH: Why did you go from a print to an online magazine?&lt;br /&gt;&lt;br /&gt;RB: We published issue 6 in March of 2006. Our staff consists of:&lt;br /&gt;&lt;br /&gt;Fiction Editor: Alicia Gifford&lt;br /&gt;Poetry Editor: Cami Park&lt;br /&gt;Associate Editor: Zett Aguado&lt;br /&gt;Associate Editor: Heather Sullivan&lt;br /&gt;Original Graphic and Logo Designer: Souxsie Campbell&lt;br /&gt;Cover Photographer: Darlene DeVita&lt;br /&gt;Web Guru: Kaolin Fire &lt;br /&gt;&lt;br /&gt;It became clear that we needed a cheaper business model. Fundraising was 85% of what I was doing. I said let’s switch to an online format and a print-on-demand production method.&lt;br /&gt;&lt;br /&gt;I credit that with the initial push we made. We started peppering the world with press releases. We did this by sitting by fax machines for hours at a time. We did massive emails, and Internet bulletin boards. I took every speaking engagement that I could; even non-paid. I spoke at Emerson College. I spoke to Grub Street. You have to be aggressive. You have to press the flesh. It’s the name of the game you have to do it.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DH: You had or still have the “Richard Yates Award.” Yates wrote “Revolutionary Road” and other works. Why use him as a focal point?&lt;br /&gt;&lt;br /&gt;RB: “Revolutionary Road” is being made into a movie. I know that Kate Winslet will be in the film.&lt;br /&gt;&lt;br /&gt;My interest with Yates started in graduate school. I had to take my comprehensive exam. My class was among the last to take these tastes. One part of the exam concerned Richard Yates. “Eleven Kinds of Loneliness,” was one of those works I fell in love with, and I began to read everything I could find. Later we published in “Night Train” an excerpt from a biography of Richard Yates: “ Tragic Honesty.”&lt;br /&gt;&lt;br /&gt;I guessed what I like about Yates is his fidelity to real life detail. You can look at his characters and you could see the way you act in the world. His detail—his fiction rang true. I think he was a masterful writer when it came to sentimentality. There is always a line you risk crossing when you write like that. He wrote breathtaking books, but never maudlin. We decided if we were going to have a contest in honor of anyone it would be Yates.&lt;br /&gt;&lt;br /&gt;DH: Are you more at home with poetry or fiction?&lt;br /&gt;&lt;br /&gt;RB: I have been solely a fiction writer for twenty years. I found myself during National Poetry Month thus year joining a program where you write a poem everyday. I wasn’t having much luck with my fiction at the time. I was at sort of a stand still. But I have written nothing but poetry since. I really don’t have any desire to write fiction at this time. I have switched gears.&lt;br /&gt;&lt;br /&gt;Poetry is more fun than poetry. Fiction is work for me. My poetry tends toward the everyday. I have a lot of natural details. I have wonder and amazement with the world.&lt;br /&gt;&lt;br /&gt;DH: Whom did you study under at Emerson College?&lt;br /&gt;RB: I had an instructor named Christopher Tillman who wrote a series of great books such as “In A Father’s Place,” and “The Way People Run.” Through him I was introduced to the works of Andre Dubus and De Witt Henry. Henry was instructed by Yates at the Iowa Writers’ Workshop. So if I could be so bold, I could considered to be one of the long line of writers to be influenced by Yates.&lt;br /&gt;&lt;br /&gt;DH: You grew up in Appalachia. This is not known as a hotbed of literary activity. How did you become interested in writing?&lt;br /&gt;&lt;br /&gt;RB: My father wrote poetry. He never tried to publish any of it. I knew it was something he was interested in. He was a construction worker. I became a reader early on. It became very clear early in my life that whatever I was going to do, it was going to be involved with words. I wrote a lot of childish poetry at first. I was lucky to have a really good public school education. My teachers always encouraged me. It was clear that it was my destiny to get out in the world.&lt;br /&gt;&lt;br /&gt;DH: Does much of your fiction take place in the place you grew up in?&lt;br /&gt;&lt;br /&gt;RB: Much of my work has been focused on the area I grew up in. I guess because I had to write my way through it.&lt;br /&gt;&lt;br /&gt;DH: How was it for you at Emerson College. It was quite different from what you were accustomed to, no?&lt;br /&gt;&lt;br /&gt;RB: I knew I was a writer. But I hadn’t announced it. I walked into my first class with a trucker’s hat and a flannel shirt. I was amidst these East Coast intellectuals. I was a fish-out-of-water, and I had to spend a lot of time adjusting. I was well treated throughout my program. It was clear that this was not the milieu I was used to.&lt;br /&gt;&lt;br /&gt;DH: Sunnyoutside press, formerly of Somerville, Mass. now of Buffalo, NY, is publishing a collection of your flash fiction. What is flash fiction?&lt;br /&gt;&lt;br /&gt;RB: I got involved with Dave McNamara and the sunnyoutside press http://www.sunnyoutside.com because I was interested in doing a chapbook of my own work. The more we got to talk the more he got interested in my work. He thought I could get together a good book, be active in the community and get some sales.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-8267211187959030033?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/8267211187959030033/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=8267211187959030033' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8267211187959030033'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8267211187959030033'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/rusty-barnes-talks-about-writing-life.html' title='Rusty Barnes talks about the writing life on the “Night Train”'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-8497447670608227073</id><published>2007-10-30T02:18:00.000-07:00</published><updated>2007-10-30T02:19:14.569-07:00</updated><title type='text'>Sarah Hannah by Lo Galluccio</title><content type='html'>SARAH HANNAH (1967-2007) – A LONGING DISTANCE&lt;br /&gt;By Lo Galluccio&lt;br /&gt;&lt;br /&gt;Yes, right now there is a longing distance between myself and this brilliant dead poet – Sarah Hannah -- for whom I will read and honor the upcoming Writer’s Festival in Somerville this November 11th. That is her book, her first published poetry book – Longing Distance -- which Doug Holder sent me to review months ago. It is a beautifully cosmically colored lush pink book, a semi-finalist for the Yale Younger Poet’s Prize and one which I was, frankly, afraid to review. How strange looking back on it now. Why was I afraid to review this particular book after reviewing so many other works of PhDs and accomplished academic poets for Ibbetson St. Press? &lt;br /&gt;&lt;br /&gt;What a mistake I made not to review her work then. How much I might have learned and gained in inspiration. On the subject of pink, that girl color, that deep vortex of cosmos color with stars embedded on the cover, she writes in the poem:&lt;br /&gt;&lt;br /&gt;“The Colors are Off This Season”&lt;br /&gt;&lt;br /&gt;I don’t want any more of this mumble—&lt;br /&gt;Orange fireside hues,&lt;br /&gt;Fading sun, autumnal tumble,&lt;br /&gt;Stricken, inimitable – Rose.&lt;br /&gt;&lt;br /&gt;I want Pink, unthinking, true.&lt;br /&gt;Foam pink, cream and coddle,&lt;br /&gt;Miniskirt, Lolita, pompom, tutu,&lt;br /&gt;Milkshake.”&lt;br /&gt;P 14, &lt;br /&gt;&lt;br /&gt;Yes, there I see my namesake, Lolita, and there I see that wonderful cascading Hopkinesque and Plath-like brocade of images, the colors come alive with emotion, motion and vibrant association. That’s a poet. She wants something that’s not there, something of her own invention. She’s a girl imposing her vision on the landscape. It’s her whim and this rather painful, playful division between what’s there and what she wants to be there. Funny, because that’s why I’m Lo. I’m Lo because I took the name when my first solo CD, Being Visited, came out on the Knitting Factory label in New York. I had secretly wanted to be a sexy tough singer maybe with heart-shaped sunglasses through which to view the world. I had been called that by first boyfriend at Harvard College. I wanted to be something other than my former self. I wanted that after my father died and when I became a poet and singer in New York. Different from Sarah, who was systematically called and systematically brilliant in her studies. Sarah, I think, always had her head on straight, more or less. Wesleyan College, A student, Columbia University PhD in Poetry and then Emerson College Professor of Literature and Writing. According to the Boston Globe story, she also wrote on ‘sheaves of pink paper.” &lt;br /&gt;&lt;br /&gt;I met and read alongside her at a reading at McIntyre and Moore bookstore later that year – what season now I can’t remember-- and I was struck by how fine boned and how forthright she was. Again, we did not have much contact but I was very impressed by her. I failed to comprehend again that though this brilliant blonde from Newton, MA was more of an academic poet than myself, we had both traversed similar orbits and held similar passions: New York City, rock music/music in general, and strangely some, well carry-over NYC hip ness and scars. Here was actually someone who, like me, had been favored with intelligence and creativity and drive, but who had also seen it all fall apart. And then, from there, I have to get to the fact that I’m here, after three suicide attempts and brave Sarah, in one swift stroke, is gone. In May of 2007, after moving to Brookline, following a recent divorce from her husband, she committed suicide at 40. &lt;br /&gt;&lt;br /&gt;In the SCAT TV interview with Doug Holder, she says that Longing Distance was named after watching her husband scale some rocks and that it came from the idea of messed up love affairs and “absence making the heart grow fonder.” So there is the idea of the unreachable or unattainable love in the very title of the book. Despite her upbeat and nourishing and sometimes humorous aura, Sarah, like Plath, knew tragedy was near. This book is a masterpiece of word play and an amazing amalgam of a kind of urban princess who could also peer into the high-blown intricacies of nature:&lt;br /&gt;&lt;br /&gt;“A storm swathes the Atlantic coast:&lt;br /&gt;Heavey Snow, Blowing Snow; Ceiling Low; Dewpoint Twenty.&lt;br /&gt;The Capes, those lonely outposts,&lt;br /&gt;Are summoned like deities: May, Cod, Hatteras,&lt;br /&gt;Waters green and roiling….”&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Colette Inez, one of several rave reviewers, commented:&lt;br /&gt;“Astronomy, Renaissance literature, mythology, music, a love of wit and verbal play combined with a passion for form and scholarship resonate in this lively collection of poems that marks Sarah Hannah’s exciting debut…”&lt;br /&gt;&lt;br /&gt;Sarah had a full-blooded teaching career at Emerson College, where she was adored by her writing students and played guitar in a rock bands, an avocation and passion she’s begun in New York City where she’d spent 17 years paying dues to develop an original poetic voice in this country. She returned to Boston, which was her home, because she wanted to be in the “underdog” City as she put it. &lt;br /&gt;&lt;br /&gt;Her second work is forthcoming on Tupelo Press and it deals with her mother’s mental illness. She finished it before she died, “Inflorescence” and this work shows that Sarah had a passion for people as well as for metaphysical language; that she was also wrestling with a depression in the family, maybe in her mother only or also in herself. The cover features a gorgeous gold burst of flower enveloping both of them. Readings from it by poets and friends will take place at the Poet’s House at 72 Spring St. in New York City on October 25th from 7-9 pm. I go there on a mission to learn more about Sarah, to hear more of her work and to revisit the City which made me an artist, the City I still like to think of as the badlands, as Oz, as home. Really, it is another chance to pay homage to Sarah before I read in November from her work.&lt;br /&gt;&lt;br /&gt;Oh that Sarah and I had had a chance to talk over a green tea latte at 1369 in late April. Oh that I might have told her that my break up with a world-famous guitarist nearly killed me, and so did the psych ward aftermath of my own suicide attempt. Maybe she would have realized something still very good about her own situation. Because the problem with poets is that they get very dark and have a tendency to think they can figure it all out themselves, or have to. Without someone shining a fine light or turning the right key in their minds they can miss the fact that against all that agony, they still have important cards to play. That’s the real tragedy of the suicide of an artist. However, Sarah’s work lives on and so does her memory. May she spin on in another dimension….&lt;br /&gt;&lt;br /&gt;Lo Galluccio&lt;br /&gt;Ibbetson St. Press&lt;br /&gt;Author of “Hot Rain” and numerous publications&lt;br /&gt;www.logalluccio.com&lt;br /&gt;For more information on Sarah Hannah Google her or visit Tupelo Press’s site  Nov. 11 2007  7PM http://www.somervillenewswritersfestival.com&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-8497447670608227073?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/8497447670608227073/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=8497447670608227073' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8497447670608227073'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/8497447670608227073'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/sarah-hannah-by-lo-galluccio.html' title='Sarah Hannah by Lo Galluccio'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-4671124927721401590</id><published>2007-10-30T02:13:00.000-07:00</published><updated>2007-10-30T02:14:20.756-07:00</updated><title type='text'>Blood Soaked Dresses by Gloria Mindock</title><content type='html'>Blood Soaked Dresses&lt;br /&gt;Gloria Mindock&lt;br /&gt;Ibbetson Street Press&lt;br /&gt;ISBN978-1-4303-1034-1&lt;br /&gt;$13.30&lt;br /&gt;order at  http://lulu.com &lt;br /&gt;&lt;br /&gt;Blood Soaked Dresses&lt;br /&gt;&lt;br /&gt;Review by Irene Koronas&lt;br /&gt;&lt;br /&gt;“Every second the crying of a wolf emerges inside one of us.” Mindock places humanity in a position of responsibility. not necessarily a response to humanity as a whole; she asks us to eschew our own idea of what violence is, this violence is also part of who we are. Who are we in any given situation? Who are we during crisis? These poems beckon, seep into us, “hoping for flesh, heart, voice, and tongue…” Gloria is an important poet. These poems do not yell at an audience, they do not beat us with their rifle words, instead these poems are prayers, a submission to what humans may become, not just negative reactions, but all the inbetweens. “my spirit accelerated into the sky. the mountains were happy by the sea. the enemy was not around.” the reader is faced with an inner reality. “at church, communion was red wine. a sip - I wanted it all. to drink would make my life last. make me immune…” the loss the pain, letting go of constructs, then replacing the known for what is present. &lt;br /&gt;&lt;br /&gt;It is almost impossible for me to review this book because the beckoning is so strong, I’m drawn in and get lost and find it difficult to give words to what might not be in my capacity to give in this particular circumstance. Mindock says what most poets cannot write. Her approach is done with great humility and grace.&lt;br /&gt;&lt;br /&gt;This book is a must, a collection of poems that rips off the page and settles into the heart. “this is not pleasant - we are both victims.” &lt;br /&gt;&lt;br /&gt;Irene Koronas&lt;br /&gt;Poetry Editor&lt;br /&gt;Wilderness House Literary Review&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-4671124927721401590?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/4671124927721401590/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=4671124927721401590' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/4671124927721401590'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/4671124927721401590'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/blood-soaked-dresses-by-gloria-mindock.html' title='Blood Soaked Dresses by Gloria Mindock'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-5037432151678642683</id><published>2007-10-30T02:09:00.001-07:00</published><updated>2007-10-30T02:10:14.512-07:00</updated><title type='text'>Of All the Meals I Had Before by Doug Holder Reviewd by Laurel Johnson</title><content type='html'>Of All the Meals I Had Before;&lt;br /&gt;Poems About Food and Eating&lt;br /&gt;By Doug Holder&lt;br /&gt;No ISBN&lt;br /&gt;25 page chapbook at $7.00&lt;br /&gt;Cervená Barva Press&lt;br /&gt;P.O. Box 440357&lt;br /&gt;W. Somerville MA 02144-3222&lt;br /&gt;http://cervenabarvapress.com&lt;br /&gt;&lt;br /&gt;Review by Laurel Johnson&lt;br /&gt;&lt;br /&gt;This chapbook of poetry is savory fare from a serious poet, with a side order of whimsy and social commentary. An eclectic range of topics delight and intrigue here, everything from the fears of an anorexic woman to cannibalism to the guilty pleasure of Milk Duds and the pornographic rotation of rotisserie chickens. Whatever the topic, Doug Holder reveals through words the joy, loneliness, and sensuality of eating.&lt;br /&gt;&lt;br /&gt;“Eating Out” is aesthetically pleasing to the senses. Readers can see and anticipate the meal:&lt;br /&gt;&lt;br /&gt;My fork&lt;br /&gt;its silver set off&lt;br /&gt;by the muted light&lt;br /&gt;traverses&lt;br /&gt;the tender white flesh&lt;br /&gt;the brittle ribs&lt;br /&gt;that preen&lt;br /&gt;with their offerings.&lt;br /&gt;&lt;br /&gt;Holder considers his mother eating alone in “Portrait of My Mother During Her Solitary Meal.” The days of arguing with her late husband are over. Now, all she has left is food, and silence:&lt;br /&gt;&lt;br /&gt;And the photos of him&lt;br /&gt;held tenuously by a cheap magnet&lt;br /&gt;on the refrigerator door&lt;br /&gt;an inanimate taunt&lt;br /&gt;a ridiculous happy, frozen&lt;br /&gt;moment of time --&lt;br /&gt;She is now&lt;br /&gt;a prisoner of&lt;br /&gt;deadened silence…&lt;br /&gt;&lt;br /&gt;“At Benson’s Deli” is Holder’s powerful reminiscence of the days his undemonstrative father took his sons to the deli for lunch. Relationships thrived there, over hot dogs, knishes, and Doctor Brown’s fizzing vanilla creams:&lt;br /&gt;&lt;br /&gt;And for me&lt;br /&gt;those afternoons&lt;br /&gt;that warm, nostalgic&lt;br /&gt;ancient hue&lt;br /&gt;is all that&lt;br /&gt;rings true.&lt;br /&gt;&lt;br /&gt;“Fat Ladies of the Matinee” is a fine mix of humorous and sad, a brilliant word picture of what it means to be fat in a world that values only the lean and beautiful among us:&lt;br /&gt;&lt;br /&gt;Floating toward corners&lt;br /&gt;graceful only in the dark&lt;br /&gt;like the slow&lt;br /&gt;clandestine drift of clouds&lt;br /&gt;Lofting their billowing&lt;br /&gt;dresses like pitch tents&lt;br /&gt;on cushioned seats.&lt;br /&gt;Positioning themselves&lt;br /&gt;to the side of&lt;br /&gt;flickering projector light.&lt;br /&gt;Corpulent, spectral figures&lt;br /&gt;munching in their hungry seclusion&lt;br /&gt;savoring the buttery kernels&lt;br /&gt;shrouded from the thinly&lt;br /&gt;veiled looks of disgust.&lt;br /&gt;&lt;br /&gt;These examples of Holder’s work reveal a poet who crafts each poem carefully. He says exactly what he means in few words, but each word and line communicates, reveals, speaks clearly to readers. If you haven’t discovered Doug Holder’s poetry yet, I recommend you start with this chapbook.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-5037432151678642683?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/5037432151678642683/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=5037432151678642683' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5037432151678642683'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/5037432151678642683'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/of-all-meals-i-had-before.html' title='Of All the Meals I Had Before by Doug Holder Reviewd by Laurel Johnson'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-4534260769670409209</id><published>2007-10-30T02:04:00.000-07:00</published><updated>2007-10-30T02:05:00.083-07:00</updated><title type='text'>Somerville Playwright John Shea Gets “Comp” play.</title><content type='html'>Somerville Playwright John Shea Gets “Comp” play. &lt;br /&gt;&lt;br /&gt;Somerville Playwright John Shea Gets “Comp” play.&lt;br /&gt;&lt;br /&gt;By Doug Holder&lt;br /&gt;&lt;br /&gt;Playwright John Shea doesn’t get his inspiration by writing about some exotic locale, or from tales of international intrigue, but from the streets of Magoun Square right here in Somerville. In fact Shea told me during our early morning interview at the Au Bon Pain in Davis Square that all his plays are set in the “Ville. Shea’s latest work will be staged at the Boston Playwrights’ Theatre at Boston University, Nov. 1 through Nov. 18. The play “Comp” concerns two Somerville brothers’ conflict around a serious work related injury. With a background of a perfectionist dyed-in-the-wool Catholic mother, and the eternal suffering of an ever-present plastic Jesus, the play flames a hellfire of drama.&lt;br /&gt;&lt;br /&gt;Shea is a Somerville native and resident whose work has been included in the National Playwrights’ Conference at the Eugene O’Neill Theatre Center, as well as the Huntington Theatre’s “Breaking Ground Festival of New Plays.” Shea’s work also has graced many festivals around the country, including four appearances in the “Boston Theatre Marathon.” He is a graduate of the Boston Playwrights Theatre MA program in playwriting at Boston University.&lt;br /&gt;&lt;br /&gt;Shea, a tall man, with gray-speckled hair, told me he grew up in the 70’s in the Magoun Square section of the city. It was, and still is to a degree, a neighborhood of working class families, two family houses, and strong religious values. But it was also plagued by drugs, crimes, and dead ends.&lt;br /&gt;&lt;br /&gt;In Shea’s family education was not highly valued. He was allowed to drop out of high school as long as he got a job. His father, who worked at Revere Sugar, gave him a strong work ethic, if not an educational ethic. But eventually Shea got his GED, graduated Lesley College, and went on to teach school in Cambridge.&lt;br /&gt;&lt;br /&gt;Shea, who now is a “house husband”, tells his kids that Somerville is “the best place in the world to live.” Specifically Shea said he loves the diversity of the city, and all the cultural activities it offers, not to mention its accessibility to Boston and Cambridge.&lt;br /&gt;&lt;br /&gt;Shea, who has been most influenced by the playwright Eugene O’Neill, and his signature play” Long Day’s Journey Into Night,” said that the plot of his play “Comp” concerns two brothers, one of whom was paralyzed by an accident on the job. The other brother, who was scheduled to work that fateful shift, was too drunk to show up at the workplace, so his unlucky brother covered for him. Life, as we all know, has a habit of throwing us curves, and in this case one brother is saved and the other cursed. The conflict has a backdrop of a no- nonsense Catholic mom, and the stifling confines of the familial home.&lt;br /&gt;&lt;br /&gt;Shea said his plays, like his hero O’Neill, center around family dramas, their conflicts, and hopefully their resolutions. Shea feels that Somerville is a regional stage for a drama that plays out on the large universal stage that we call life.&lt;br /&gt;&lt;br /&gt;For more information go to: http://www.bu.edu/bpt/&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-4534260769670409209?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/4534260769670409209/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=4534260769670409209' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/4534260769670409209'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/4534260769670409209'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/somerville-playwright-john-shea-gets.html' title='Somerville Playwright John Shea Gets “Comp” play.'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-3859934570388239149</id><published>2007-10-30T02:02:00.001-07:00</published><updated>2007-10-30T02:02:41.144-07:00</updated><title type='text'>From Mist to Shadow:Poems By Robert K. Johnson</title><content type='html'>From Mist to Shadow:Poems By Robert K. Johnson &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Robert K. Johnson&lt;br /&gt;&lt;br /&gt;From Mist to Shadow:&lt;br /&gt;Poems by Robert K. Johnson&lt;br /&gt;&lt;br /&gt;ISBN 978-0-9795313-0-9&lt;br /&gt;80 pages at 12.00 paperback&lt;br /&gt;Ibbetson Street Press http://www.ibbetsonpress.com&lt;br /&gt;25 School Street&lt;br /&gt;Somerville MA 02143&lt;br /&gt;&lt;br /&gt;Review by Laurel Johnson&lt;br /&gt;&lt;br /&gt;Robert K. Johnson is a poet, writer, retired English professor, and student of life. Between 1975 and 2007, he’s had six collections of poetry and two non-fiction books published, plus been featured in two poetry anthologies. In this latest book, Johnson tenderly transforms the small memories, wonders and sorrows of everyday life into moments brightened and sharpened through his words.&lt;br /&gt;&lt;br /&gt;The commonplace turns quietly sinister as Johnson remembers the unexpected suicide of a friend. “Jimmy” recalls the class clown, the day he put his head in the oven after school, and the numbing effect on the poet:&lt;br /&gt;&lt;br /&gt;And suddenly all the bushes, trees&lt;br /&gt;and flowers I stared at in our yard&lt;br /&gt;looked different, strange,&lt;br /&gt;as if -- year after year --&lt;br /&gt;they had been hiding something from me.&lt;br /&gt;&lt;br /&gt;“Anguish” is a simply stunning poem about a mother lost to dementia, unable to separate reality from hallucination, and the son forced to witness her decline. I cannot do this fine poem justice with an excerpt; it must be read in its entirety.&lt;br /&gt;&lt;br /&gt;“Brother of the Prodigal Son” is a long poem that remains true to the biblical version but extracts a bitter truth unspoken in the parable. This poem, also, cannot be adequately honored with an excerpt.&lt;br /&gt;&lt;br /&gt;“The Truth About the Past” is another powerful recollection about the father who shared memories of his own revered father’s many talents. A long-lost great aunt shatters those memories with a harsh truth:&lt;br /&gt;&lt;br /&gt;…she described my father’s childhood,&lt;br /&gt;starting when he was two&lt;br /&gt;-- the year his father abandoned&lt;br /&gt;his wife and son.&lt;br /&gt;&lt;br /&gt;Life is often unpredictable. This excerpt from “On F. Scott Fitzgerald’s ’Babylon Revisited’” shows how forgotten words and acts unexpectedly return to us like bad karma:&lt;br /&gt;&lt;br /&gt;-- all can silently arc&lt;br /&gt;over our heads for days,&lt;br /&gt;for blithe or busy years&lt;br /&gt;until the moment they curve&lt;br /&gt;back into our lives as swiftly&lt;br /&gt;as a hawk’s swooping claws&lt;br /&gt;puncture a rabbit’s skin.&lt;br /&gt;&lt;br /&gt;Regardless of age, a poet is always a poet. Age settles over us all, but Johnson still sees poetry in the world around him:&lt;br /&gt;&lt;br /&gt;…subjects for poems,&lt;br /&gt;like frightened children&lt;br /&gt;seeking shelter,&lt;br /&gt;tug at my mind…&lt;br /&gt;&lt;br /&gt;One critic describes Robert K. Johnson as “the poet/laureate of the ordinary moment in time.” He is that and much more. His poetry is quietly powerful and poignant. This collection lives, breathes, and transforms the ordinary through the thoughts and memories of a skilled wordsmith. From Mist to Shadow is a book you’ll want to keep and reread.&lt;br /&gt;&lt;br /&gt;-- Laurel Johnson is a reviewer for the Midwest Book Review and other magazines.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-3859934570388239149?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/3859934570388239149/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=3859934570388239149' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3859934570388239149'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/3859934570388239149'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/from-mist-to-shadowpoems-by-robert-k.html' title='From Mist to Shadow:Poems By Robert K. Johnson'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-697090250725454539</id><published>2007-10-30T01:57:00.000-07:00</published><updated>2007-10-30T01:58:04.795-07:00</updated><title type='text'>The Plum Flower Dance: Poems 1985 to 2005 ($14.00 U.S.A.) (University of Pittsburgh Press) by Afaa Michael Weaver Reviewed by Pam Rosenblatt</title><content type='html'>The Plum Flower Dance: Poems 1985 to 2005 ($14.00 U.S.A.) (University of Pittsburgh Press) by Afaa Michael Weaver Reviewed by Pam Rosenblatt &lt;br /&gt;&lt;br /&gt;The Plum Flower Dance: Poems 1985 to 2005 ($14.00 U.S.A.) (University of Pittsburgh Press) by Afaa Michael Weaver&lt;br /&gt;&lt;br /&gt;www.upress.pitt.edu &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Review by Pam Rosenblatt &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Afaa Michael Weaver’s The Plum Flower Dancer, has recently been published by the University of Pittsburgh Press. Not only is the cover an artistic pearl, the poetry inside of this 123 page book is just as beautiful, or enthralling. Like his eight previously published books, The Plum Flower Dance proves Weaver the consummate poet. &lt;br /&gt;&lt;br /&gt;Through syntax that is structured but with an open form that is sometimes very experimental, Weaver’s poetry reflects his different writing phases from 1985 to 2005.&lt;br /&gt;&lt;br /&gt;He writes in a style that is diverse and borrows upon the various forms of African-American poetry: Folk Secular, Spirituals, Literary Poetry, Harlem Renaissance, and The Nineteen Sixties. Weaver understands the history of the African American, using the word “black” instead of African-American to convey a proud and beautiful heritage. And he seems to be striving to establish a new voice, his own individual, human voice. Weaver has created poems with a common language, everyday happenings that are communicated to the reader through the power of the word. &lt;br /&gt;&lt;br /&gt;Like such African-American poets as Claude McKay, Langston Hughes, and&lt;br /&gt;Robert Hayden, Weaver had to make choices in his writing – whether he wanted to be&lt;br /&gt;a “silent” man who adapts to current day expectations or a poet who expresses his sentiments. He chose a mixture. And he didn’t want to be, as many African-American male poets before him, simply reflecting a group. Weaver seems to have created The Plum Flower Dance to “explore the quality of being human.” Through a fine and well crafted book, Weaver has achieved his goal.&lt;br /&gt;&lt;br /&gt;The Plum Flower Dance consists of five sections: gold (metal), water, wood, fire, and earth. Throughout the collection, Weaver writes about the African-American experience in the United States, including: history, oppression, freedom, religion, heredity, identity, jazz, blues, popular culture, and more. He uses the technical devices of imagery, description, economy of word, enjambment, juxtaposition, caesuras, and punctuation – sometimes lack of punctuation – to create respect for poetry,in general. &lt;br /&gt;&lt;br /&gt;Since a lot of things are going on in The Plum Flower Dance, let’s just focus on the two simple yet loaded words “houses” and “ghosts” that Weaver uses in regards with his identity and ancestry in such poems as “An Improbable Mecca” (pp. 8 – 10), “Beginnings” (p. 19), and “Final Trains of August” (pp. 53 – 57). &lt;br /&gt;&lt;br /&gt;Weaver starts the poem “An Improbable Mecca” with the confessional statement, “I am here in the house”. The reader wonders whose house is the speaker in, and he finds that out in the following line that reads, “of my childhood, my youth,/of the quiet whisperings/from walls that have watched/me lose my two front teeth/to a cousin slinging a baby doll,…” Here the speaker reveals himself in the first person pronoun “I” and speaks about his own home. As the poem is confessional, Weaver is most probably the speaker of this poem. Weaver writes “An Improbable Mecca” in such a manner that the reader feels as if the speaker is a friend.&lt;br /&gt;&lt;br /&gt;And this friend, the speaker, is kind enough to let us into his world “where the whole of us learned/the premeditated Manhattan/and the snap and flare/of the bossa nova, the twist,/here in this house where quiet ruled like an avenging saint” The scene is clearly taking place in an American setting. And the fact that Weaver is writing about home is significant if the reader puts things into historical perspective, like so many African-American poets have done in their writings.&lt;br /&gt;&lt;br /&gt;The African-American situation has changed over the past 250 or so years with people no longer being uprooted from their “houses” in Africa and then owning no “houses” while in slavery. Now, Weaver is saying he and his family are proud to have a “house” to call their own, “even when I rolled, drunk and dirty,/in the living room at seventeen,/home from college with hoodlum friends”.&lt;br /&gt;&lt;br /&gt;This house isn’t ordinary to the speaker, who says: &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;This house opens its eyes,&lt;br /&gt;&lt;br /&gt;reaches to me with hands held&lt;br /&gt;&lt;br /&gt;together in silent prayer,&lt;br /&gt;&lt;br /&gt;begging me to take every lesson&lt;br /&gt;&lt;br /&gt;and go on with life peacefully,&lt;br /&gt;&lt;br /&gt;out of its contemplation, &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Through imagination and metaphor, Weaver has personified the speaker’s house. It’s&lt;br /&gt;almost as if the “house” is human with “its eyes” and “hands held”. A lot about the speaker is revealed in this house. He is from a religious family that has been raised with “silent prayer” and wants to “go on with life peacefully”. &lt;br /&gt;&lt;br /&gt;Weaver expresses his everyday observations as he remembers happenings in the house with precise detail. He writes about his “father’s pondering step,/coming home in the evenings,/in his brown, leather bomber jacket, ecclesiastical and provident, out of my mother’s discordant singing as she put yellow ribbons in my invalid grandmother’s hair, singing old spirituals removed from new hymn books, always/falling back to her favorite, ‘Pass Me Not, O Gentle Savior’.” Because of the vivid imagery through prudent selection of words, the reader clearly sees that the speaker has fond memories of his childhood, and even of an ancestry he never met as suggested by the “singing old spirituals removed from new hymn books.”&lt;br /&gt;&lt;br /&gt;The importance of time’s passing and death in the speaker’s life is revealed in&lt;br /&gt;“An Improbable Mecca”, too, when he writes: &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;when I slide my hands down the walls&lt;br /&gt;&lt;br /&gt;as I ease down the stairs of&lt;br /&gt;&lt;br /&gt;this house where mother and grandmother &lt;br /&gt;&lt;br /&gt;died, when the bones of this home&lt;br /&gt;&lt;br /&gt;screamed until they were thin&lt;br /&gt;&lt;br /&gt;as glass when I lost my mind.&lt;br /&gt;&lt;br /&gt;This house throws back its head &lt;br /&gt;&lt;br /&gt;And laughs in a resplendent roar&lt;br /&gt;&lt;br /&gt;When I ask it to remember&lt;br /&gt;&lt;br /&gt;The first poem I wrote at eight,&lt;br /&gt;&lt;br /&gt;The Sears &amp; Roebuck bicycle&lt;br /&gt;&lt;br /&gt;With whitewalls and headlights,&lt;br /&gt;&lt;br /&gt;The first girlfriend in the fourth grade,&lt;br /&gt;&lt;br /&gt;The first wife at nineteen,&lt;br /&gt;&lt;br /&gt;The lessons on ancestry from Grandma, &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;In these fifteen lines, Weaver has covered a lot of subject matter. He talks about&lt;br /&gt;the architecture of the house when the speaker says, “…when I slide my hands down&lt;br /&gt;the walls” and “as I ease down the stairs of this house”. The reader now knows the house as concrete, something solid, with “walls” and “stairs”. The speaker reveals the powerful effect of death and ancestry, or the ghosts of the past, that had a hold on him as he remembers, “this house where mother and grandmother/died, when the bones of this home/screamed until they were thin as glass when I lost my mind.” Weaver has captured a very sensitive and emotional time in the speaker’s world through the power of words.&lt;br /&gt;&lt;br /&gt;The “house” is again personified and the speaker reveals he has had a pleasant series of memories as “This house throws back its head/And laughs in a resplendent roar/when I ask it to remember/the first poem I wrote at eight/the Sears &amp; Roebuck bicycle/with whitewalls and headlights,” and his “first girlfriend in the fourth grade” and his “first wife at nineteen”. It is a list of “firsts” or things he had never experienced before; and then Weaver adds, “the lessons on ancestry from Grandma”, which is something that is probably difficult for the speaker at the age of eight to really comprehend as he never met his ancestors because they, like his mother and grandmother were dead, and in the past. But, Weaver writes this gently, like “the delicate cloth of talking/and sharing I built with my father”, a line which follows “the lessons on ancestry from Grandma”. The speaker is learning responsibility already at the age of eight. &lt;br /&gt;&lt;br /&gt;The speaker has been given a structure, or a foundation, on which to grow. Weaver offers the reader the word “house” to create a support structure, or a foundation, on which the reader can build ideas and thoughts about what is beautiful about being human in life as well as poetry.&lt;br /&gt;&lt;br /&gt;The next time Weaver mentions the “house” in this poem, he doesn’t personify it but he immortalizes it as the speaker says, “This house stands before me/and in my memory, a monument/perfectly aligned to the stars,/luminescent and sentient,…” The speaker loved the house so much that he brought the house, now “a monument” to the cosmos.&lt;br /&gt;&lt;br /&gt;To the speaker, the “house” is a place of security, safety, identity, and history,&lt;br /&gt;&lt;br /&gt;“ a life in and of itself and ourselves,/as patient and kind and suffering/as anyone could ever hope a house to be when chattering children/kick in its lap, men lie in it, trying to accommodate their future”, that is until “death comes lusting after it/with sledgehammers and stillness – “. The “house” is no longer personified or immortalized or even a structure as it has been taken down. And the poem concludes: &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;I come to the front steps&lt;br /&gt;&lt;br /&gt;and sit as I did when I was a child&lt;br /&gt;&lt;br /&gt;and hope that I can hold to this&lt;br /&gt;&lt;br /&gt;through life’s celebrations and calamities,&lt;br /&gt;&lt;br /&gt;until I go shooting back&lt;br /&gt;&lt;br /&gt;into the darkness of my origin&lt;br /&gt;&lt;br /&gt;in some invisible speck&lt;br /&gt;&lt;br /&gt;in an indeterminable brick&lt;br /&gt;&lt;br /&gt;of this house, this remembering. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;“Beginnings” and “The Final Trains of August” are two more “house” poems&lt;br /&gt;written by Weaver. Both these poems show Weaver’s imagination at its height. In “Beginnings”, the speaker starts off with a simple and ordinary line, “The house on Bentalou Street/ had a cemetery behind it…” By the third line of the poem, Weaver lets the reader know this is no ordinary cemetery. This cemetery is special because it’s “where the white hands of ghosts/rose like mist when God/tapped it with his silver cane.” Here Weaver reminds the speaker of past ancestry and identity. He is having fun with words. &lt;br /&gt;&lt;br /&gt;Through vivid imagery, Weaver has developed his imagination and takes the reader on a journey where “giant cedar trees/out front [of the house]…snapped when/we hit them from the porch,/jumping like big squirrels from the stone ledge.” The “giant cedar trees” or the whites, are angry, and the speaker and his family are fighting back, though they are only “big squirrels” that jump “from the stone ledge.”&lt;br /&gt;&lt;br /&gt;Weaver develops the story further in the third stanza as he brings us inside the house like he did in “An Improbable Mecca”. This time this “house” isn’t filled with memories that are mostly pleasant; many are sad. This time the speaker refers to the “house” as “it” and doesn’t personify the place. Weaver makes “The house on Bentalou Street” very unusual, so different is it that “Inside it had no end;/the stairs led to God’s tongue/the basement was the warm door/to the labyrinth of the Earth.”&lt;br /&gt;&lt;br /&gt;Here Weaver suggests the “house’ is like heaven and hell, and the speaker’s family “lived on the chest of a rising star.” Through vivid imagery, the reader can see the “star” as a person with its “chest” “rising”. The speaker and his family are headed towards the cosmos, then to heaven.&lt;br /&gt;&lt;br /&gt;In the second to last stanza, the innocent tone of voice of the speaker changes. The speaker tells the reader now he is getting angry, so angry that “And on one still day,/ I hammered a boy until/he bled and ran/the blood/like red licorice on my small hand.” Like his ancestors before him, the speaker has begun to pick up on oppression,indicated by the “giant trees/out front [that] snapped”. The speaker is growing up and his “world became many houses,/ all of them under siege.” He is beginning to understand the history of African Americans. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;In “The Final Trains of August”, Weaver doesn’t mention anything about being “black” or “white” but has written a poem that really “suspends" the idea of the [human] race.” At the end, he reminds the reader that the speaker is probably African-American because the poem concludes with Walter, “At the road’s edge, he lights a Marlboro,/blows the smoke ahead, walks into it,/ as he listens to the regrets of the dead.” Here Weaver seems to be reminding the reader of the importance of remembering ancestors, those who follow before us, which is a common theme in his book, and African-American literature as well.&lt;br /&gt;&lt;br /&gt;Weaver’s “houses” and “ghosts” in The Plum Flower Dance are just a tip of the journey to deciphering his style of writing and the depth of his thought. To understand where he is coming from, it may be a good idea to pick up an anthology of black poets in the United States. The Plum Flower Dance is an aesthetically beautiful work of writing and shows Weaver to be a poet who stands on his own. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Highly Recommended. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;### &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Bibliography: &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Hughes, Langston. Selected Poems. New York: Vintage Books, 1959.&lt;br /&gt;&lt;br /&gt;Kenzie, Mary. A Poet’s Guide to Poetry. Chicago: University of Chicago, 1999. &lt;br /&gt;&lt;br /&gt;Randall. Dudley. The Black Poets. New York: Bantam Books. 1970.&lt;br /&gt;&lt;br /&gt;Stevens, Wallace. The Collected Poems of Wallace Stevens. New York: Alfred A. &lt;br /&gt;&lt;br /&gt;Knopf, 1991.&lt;br /&gt;&lt;br /&gt;Timpane, John, PhD, and Watts, Maureen. Poetry for Dummies. Indianapolis: Wiley&lt;br /&gt;&lt;br /&gt;Publishing, Inc. 2001.&lt;br /&gt;&lt;br /&gt;Untermeyer, Louis, ed. Modern American Poetry ~ Modern British Poetry: Combined &lt;br /&gt;&lt;br /&gt;New and Enlarged Edition. New York: Harcourt, Brace &amp; World, Inc, 1962.&lt;br /&gt;&lt;br /&gt;Vendler, Helen. Wallace Stevens: Words Chosen Out of Desire. Cambridge: Harvard &lt;br /&gt;&lt;br /&gt;University Press, 1984.&lt;br /&gt;&lt;br /&gt;Weaver, Afaa M. Multitudes. Kentucky: Sarabrande Books, 2000.&lt;br /&gt;&lt;br /&gt;Weaver, Afaa M. Talisman. Chicago: TIA CHUCHA Press, 1998.&lt;br /&gt;&lt;br /&gt;Weaver, Afaa M. Timber and Prayer The Indian Pond Poems. Pittsburgh: University&lt;br /&gt;&lt;br /&gt;of Pittsburgh Press, 1995. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Bibliography (Online): &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;“A Brief Guide to the Harlem Renaissance.” Poets.org – Poetry, Poems, Bios &amp; More&lt;br /&gt;&lt;br /&gt;20 October 2007 pp. 1 - 2.&lt;br /&gt;&lt;br /&gt;http://ww.poets.org/viewmedia.php/prmMID/5657&lt;br /&gt;&lt;br /&gt;“African American Culture.” Wikipedia, the free encyclopedia. 20 October 2007. &lt;br /&gt;&lt;br /&gt;pp. 1 - 11.&lt;br /&gt;&lt;br /&gt;http://en.wikipedia.org/wiki/African_American_Culture&lt;br /&gt;&lt;br /&gt;“African American Poetry.” African American Poetry essays 17 October 2007. pp. 1 – 2.&lt;br /&gt;&lt;br /&gt;http://www.megaessays.com/viewpaper/73001.html&lt;br /&gt;&lt;br /&gt;“American Poetry 1945 to Present.” 18 October 2007. pp. 1 - 15.&lt;br /&gt;&lt;br /&gt;http://www.auroraweb.com/america/contemporary_lit/american_poetry_1945_to_&lt;br /&gt;&lt;br /&gt;present…&lt;br /&gt;&lt;br /&gt;“American Literature: Poetry.” MSN Encarta. 20 October 2007. pp. 1 - 11.&lt;br /&gt;&lt;br /&gt;http://encarta.msn.com/encyclopedia_761596671_4/American_Literature_Poetry.html&lt;br /&gt;&lt;br /&gt;“American Literature Poetry.” MSN Encarta. 17 October 2007. pp. 1 - 7.&lt;br /&gt;&lt;br /&gt;http://encarta.msn.com/encyclopedia_761596671_2/American_Literature_Poetry. html&lt;br /&gt;&lt;br /&gt;“Furious Flower| Introduction: Study Guide.” California Newsreel. 17 October 2007. &lt;br /&gt;&lt;br /&gt;pp. 1 – 9.&lt;br /&gt;&lt;br /&gt;http://www.newsreel.org/guides/furious/introduc.htm&lt;br /&gt;&lt;br /&gt;Great Anthology: The Vintage Book of African American Poetry. Poets.org. –Poetry. &lt;br /&gt;&lt;br /&gt;Poems, Books, &amp; More. 18 October 2007. p. 1.&lt;br /&gt;&lt;br /&gt;http://www.poets.org/viewmedia.php/prmMID/5680&lt;br /&gt;&lt;br /&gt;Harris, William J. “Emancipation Pragmatism: Emerson, Jazz, and Experimental &lt;br /&gt;&lt;br /&gt;Writing…” 20 October 2007. pp. 1 – 4.&lt;br /&gt;&lt;br /&gt;http://muse.jhu.edu/demo/william_carlos_williams_review/v026/26.1harris.html.&lt;br /&gt;&lt;br /&gt;Hawkins, B. Denise. “A Furious Flowering of Poetry.” Conference. 17 October 2007. &lt;br /&gt;&lt;br /&gt;pp. 1 – 3.&lt;br /&gt;&lt;br /&gt;http://www.jmu.edu/furiousflower/archive/conference.htm&lt;br /&gt;&lt;br /&gt;Mindock, Gloria. “Interview with Afaa Michael Weaver.” Cervena Barva Press, 2006.&lt;br /&gt;&lt;br /&gt;p. 6.&lt;br /&gt;&lt;br /&gt;http://www.cervenabarvapress.com/afaaweaverinterview.htm&lt;br /&gt;&lt;br /&gt;Patten, Joyce. “African-American Poets Past and Present: A Historical View.” Yale –&lt;br /&gt;&lt;br /&gt;New Haven Teachers Institute. 17 October 2007. pp. 1 - 14.&lt;br /&gt;&lt;br /&gt;http://www.yale.edu/ynht/curriculum/units/1991/4.91.04.04.x.html&lt;br /&gt;&lt;br /&gt;“Poetry: A View of African American Life.” Yale-New Haven Teachers Institute. &lt;br /&gt;&lt;br /&gt;18 October 2007. pp. 1 - 15.&lt;br /&gt;&lt;br /&gt;http://www.yale.edu/ynhti/curriculum/units/1994/2/94.02.17.x.html&lt;br /&gt;&lt;br /&gt;Thomas, Lorenzo. “Performing the Word: African American Poetry as Vernacular &lt;br /&gt;&lt;br /&gt;Culture – Review.” African American Review 20 October 2007. pp. 1 - 3.&lt;br /&gt;&lt;br /&gt;http://findarticles.com/p/articles.mi_m2838/is_3_35/ai_79758791 &lt;br /&gt;&lt;br /&gt;“Teacher’s Guide CD.” The Blues. Blues Classroom. Teacher’s Guide CD/PBS.&lt;br /&gt;&lt;br /&gt;20 October 2007. pp. 1 – 4.&lt;br /&gt;&lt;br /&gt;http://www.pbs.org/theblues/classroom/cd.html&lt;br /&gt;&lt;br /&gt;Weaver. Afaa M. “Masters and Master Works: On Black Male Poetics. Poets.org – &lt;br /&gt;&lt;br /&gt;Poetry, Poems, Bios &amp; More 18 October 2007. pp. 1 - 4.&lt;br /&gt;&lt;br /&gt;http://www.poets.org/viewmedia.php/prmMID/18987&lt;br /&gt;&lt;br /&gt;“What’s African American About African American Poetry?” FENCE V. 4, N.1 &lt;br /&gt;&lt;br /&gt;Spring/Summer 2001. pp. 1 – 9.&lt;br /&gt;&lt;br /&gt;http://www.fencemag.com/v4n1text/afric_amer.html&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-697090250725454539?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/697090250725454539/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=697090250725454539' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/697090250725454539'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/697090250725454539'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/plum-flower-dance-poems-1985-to-2005.html' title='The Plum Flower Dance: Poems 1985 to 2005 ($14.00 U.S.A.) (University of Pittsburgh Press) by Afaa Michael Weaver Reviewed by Pam Rosenblatt'/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-8031473272891209513.post-6227719008529062591</id><published>2007-10-30T01:52:00.001-07:00</published><updated>2007-10-30T01:52:40.485-07:00</updated><title type='text'></title><content type='html'>Sunday, October 28, 2007&lt;br /&gt;Abbott Ikeler:The Poet Behind The Outpost &lt;br /&gt;&lt;br /&gt;Abbott Ikeler is the author of the poetry collection “Outpost” ( Ibbetson Press 2007) Ikeler , a Harvard graduate, with a PhD from the University of Pittsburgh, has taught literature and writing at Bowdoin College, the University of Muenster, and Rhode Island College before joining the corporate world. His academic credits include a Senior Fulbright Fellowship, a book on nineteenth-century aesthetics, and numerous articles on Victorian literature. He currently teaches Public Relations and Advertising at Emerson College in Boston, Mass. I spoke with Ikeler on my Somerville Community Access TV show “Poet to Poet: Writer to Writer.”&lt;br /&gt;&lt;br /&gt;Doug Holder: In a book you penned some time ago: “Puritan Temper and Transcendental Faith” you dealt with the Victorian writer Thomas Carlyle and his early lyrical style that was later tempered by religious thought. Do you think that fundamentalist religion or political polemic can undermine poetry or creative thought?&lt;br /&gt;&lt;br /&gt;Abbott Ikeler: Carlyle was moved back to his father’s fundamentalist religion because of the guilt around his death. He was also by the death of Goethe who was his mentor. His father used to say you need to work with your hands and the only book you have to read is the bible. &lt;br /&gt;&lt;br /&gt;When I think of poetry in the political sense I think of Auden who wrote that poetry makes nothing happen or Yeats who wrote that even as bombs fall around us the poet just smiles and goes on. The poet doesn’t get involved in politics. But of course Yeats contradicts himself later.&lt;br /&gt;&lt;br /&gt;DH: What made you switch from an academic setting to public relations in a corporate setting?&lt;br /&gt;&lt;br /&gt;AI: You want to know frankly? It was 1984, and I was making 20,000 a year. I was tenured and I had my PhD for fifteen years. A friend of mine, whose wife was a business secretary, told me that she was making a better salary than I was with a degree from Katherine Gibbs. I though there has to be a better way to make a living. A friend of mine who worked at WANG said if you come to us we will give you a position where you will travel all over the world. They put me in charge of Advertising and PR for their Asian subsidiary. &lt;br /&gt;&lt;br /&gt;DH: Where you interested in PR writing?&lt;br /&gt;&lt;br /&gt;AI: Yeah. One of the things about being an academic, particularly in Literature, is that you have to find romance in engineering. I read Tracy Kidder’s “The Soul of a New Machine,” that dealt with the romance of building the first 32 bit computer. The one problem with teaching is, if you stay in the same discipline, there is a repetitiveness to it. There is a tedium grading over twenty to thirty thousand papers during a lifetime. Most of the academics I know have left their positions for the money issue or because of the weight of repetition. But now I am back in the classroom and I am loving it. I teach graduate students so I don’t have the weight of repetition.&lt;br /&gt;&lt;br /&gt;AI: The poet Wallace Stevens, who was an insurance executive, would never talk about his poetry life at the office. He felt once he did he would be viewed as a poet and not a businessman. How was it for a former academic in the corporate world?&lt;br /&gt;&lt;br /&gt;DH: In the corporate world I kept my academic credentials and my literary ambitions pretty much under my hat. It is a world where the academic frame of mind is viewed as too abstract, and not likely for a company to make a profit from.&lt;br /&gt;&lt;br /&gt;DH: How has your business experience helped or hindered your writing?&lt;br /&gt;&lt;br /&gt;AI: It has helped me be much more succinct. My style has gotten much leaner.&lt;br /&gt;&lt;br /&gt;DH: You titled your latest poetry collection “Outpost.” The poem looks at the world from the vantage point of a fort or an outpost. &lt;br /&gt;Do you feel it is the poet’s job to look out from an outpost, on the expanse of life, and remind us all to live now for we all must die?&lt;br /&gt;&lt;br /&gt;AI: To remind them certainly how precariously short our time is. Poets use ordinary moments and hopefully derives something sublime.&lt;br /&gt;&lt;br /&gt;DH: It seems that you feel you are in a fight against encroaching age, infirmity.&lt;br /&gt;&lt;br /&gt;AI: Yeah. It is a fight against the dark. A friend said if he described the overall mood of my poems it would be optimistic melancholy. &lt;br /&gt;&lt;br /&gt;DH: Can you experience a “sublime” moment right here in Union Square Somerville?&lt;br /&gt;&lt;br /&gt;AI Absolutely. Often we find happiness in the most mundane places. Often my poems look at that.&lt;br /&gt;&lt;br /&gt;Epiphanies&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;They happen on a subway platform&lt;br /&gt;in the midst of mild debate,&lt;br /&gt;hardly heated, on the merits of a film.&lt;br /&gt;Or between courses at a restaurant&lt;br /&gt;unrated by Michelin&lt;br /&gt;over the indiscretions of a distant friend.&lt;br /&gt;An old incompatibility&lt;br /&gt;of taste or moral vision gathers&lt;br /&gt;in an unremarkable moment in a quite prosaic spot&lt;br /&gt;to a settled recognition on one side or the other&lt;br /&gt;of a wall that can’t be climbed.&lt;br /&gt;The rest—days or decades—is merest epilogue.&lt;br /&gt;&lt;br /&gt;-- Abbott Ikeler&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;To order Outpost go to: http://www.lulu.com/content/876211&lt;br /&gt;Labels: Holder on Ikeler&lt;br /&gt;&lt;br /&gt;posted by Doug at 10:40 AM 0 comments    &lt;br /&gt;&lt;br /&gt;Diminishing Returns, by Karl Koweski &lt;br /&gt;&lt;br /&gt;Diminishing Returns, by Karl Koweski&lt;br /&gt;&lt;br /&gt;sunnyoutside, 2007&lt;br /&gt;&lt;br /&gt;ISBN 978-1-934513-01-9&lt;br /&gt;&lt;br /&gt;38 pages, $8.00 &lt;br /&gt;&lt;br /&gt;Review by Eleanor Goodman&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Mr. Koweski clearly enjoys telling stories, and he is good at it. In Diminishing Returns, most of the poems involve a narrative structure: a family road trip, an interaction between lovers or friends, an anecdote about the foibles of child-raising. These are not philosophical forays, nor art objects concerned with their own beauty. Rather, they are snapshots of people’s lives, full of humor and an offbeat view of our daily experience. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;In “fiberglass dinosaurs,” a family visits an amusement park where “frozen monstrosities / hulk in the Tennessee woods / like junkyard Camaros.” Each member of the family responds differently to the scene, but the speaker, the father, is disappointed: “For me it’s another / wasted fifty dollars, / another bead on a / vacational string / of wasted fifty dollars.” Anyone who has brought a child to an amusement park or watched a kids’ video for the hundredth time can relate to this. But the father’s jaded eye is tempered by the reaction of his son, who “sees....the most awesome beasts / the world has ever offered / tamed only by his father’s presence. / And that alone / makes everything worthwhile.” &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Mr. Koweski also looks into the darkness of families, and the potential for devastation when the family unit is dysfunctional. In his painful and humane poem, “the cat’s in the cradle and the kid’s in the litterbox,” he tells the story of two children, two years old and six months old, who are stranded in their trailer home for days after their parents die from drug poisoning. “The children sickly, but alive. / The two-year-old, perhaps / unaccustomed to a lack of / adult supervision, kept his / sister and himself fed / and watered with what he / found in the cat bowl / while their parents / decomposed in the bedroom.” There is little poetic cadence here; like many of the pieces in the book, the lines read like prose. It is important prose, however, and we need more stories like these in written form. Writing solidifies experience, and creates something more lasting and important than a tale to tell at a backyard barbeque. “Usually when I tell this story, / I’ll add a little levity. / I’ll say they were found / in the litter box, or, / at least they didn’t / scratch up the furniture. / But the jokes / are only tiny horrors / meant to obscure / the horrible truth.” Poetry makes casual joking more difficult, and “the horrible truth” becomes a bit more accessible. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Humor is a powerful coping mechanism, however, one which Mr. Koweski employs to good effect throughout the book. “Dancing with diane” is an amusing yet biting romantic history. The speaker describes being eight years old and being told by his parents to ask his cousin Diane to dance. Not knowing which girl in the room is Diane, he asks the drunkest blonde he can find instead. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;She set down her&lt;br /&gt;&lt;br /&gt;Long Island Iced Tea&lt;br /&gt;&lt;br /&gt;and obliged me,&lt;br /&gt;&lt;br /&gt;afterward asking the&lt;br /&gt;&lt;br /&gt;quintessential question,&lt;br /&gt;&lt;br /&gt;“Who are you?” &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;I’ve yet to answer&lt;br /&gt;&lt;br /&gt;that question&lt;br /&gt;&lt;br /&gt;but I’ve been dancing&lt;br /&gt;&lt;br /&gt;with the wrong women&lt;br /&gt;&lt;br /&gt;ever since. &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Romance and sexuality are fertile topics for Mr. Koweski. He approaches both with verve. In “computer porn sabotage,” the speaker bemoans the erasure of “Northern Indiana’s largest / privately owned collection of porn” by his wife. “All those hours spent amassing... / the blondes, the brunettes, the redheads, / the midgets, the transvestites, / the double amputees.../ kilobit by painful dial-up kilobit.” The mind boggles trying to picture it – or trying distinctly not to picture it. But Mr. Koweski never flinches. He writes of the ugly, the ridiculous, the absurd, and the disturbing. We should all have such bravery.&lt;br /&gt;&lt;br /&gt;Eleanor Goodman. Ibbetson Update. Nov. 2007. Somerville, Mass.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8031473272891209513-6227719008529062591?l=bostonareasmallpressreview.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://bostonareasmallpressreview.blogspot.com/feeds/6227719008529062591/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=8031473272891209513&amp;postID=6227719008529062591' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6227719008529062591'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8031473272891209513/posts/default/6227719008529062591'/><link rel='alternate' type='text/html' href='http://bostonareasmallpressreview.blogspot.com/2007/10/sunday-october-28-2007-abbott-ikelerthe.html' title=''/><author><name>Doug Holder</name><uri>http://www.blogger.com/profile/05003269684850096238</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='33' height='23' src='http://authorsden.com/authorsheadshot/3792.jpg'/></author><thr:total>0</thr:total></entry></feed>
