Reinventing the Life of a Poet in the Modern World

Month: October 2015

Poetry News for Fall 2015

Kayryan

Poet Kay Ryan Explores Love, Loss & the Passing of Time in "Erratic Facts"  (NPR)

In new collection, Marin poet Kay Ryan contemplates nuances of loss (San Francisco Chronicle)

An Unexpected Revival For A Beloved Russian Poet Anna Akhmatova (NPR)

Massachusetts historians digging for poet’s lost house (WWLP local news)

 This Poet Nails Why 'All Lives Matter' Will Always Be A Horrible Argument  (Huffington Post)
This is an awesome example of the practical and political influence of poets in our own times Poets are able, through their abilities with rhetoric, to explain and comment more precisely on complicated cultural issues and conflicts.

Ode to Whataburger by Amir Safi goes viral  (The Houston Chronicle)

A Conversation with First Latino U.S. Poet Laureate Juan Felipe Herrera Part 1 and Part 2  (Democracy Now!)

Patti Smith on 19th Century Poet William Blake and on Creating Political Art "Unapologetically” (Democracy Now!) 

Experimental Game Turns Players into Poets and Writers (Big Think)

  

Poets of Influence: a LinkedIn Survey

SonnyOver the last few weeks, one of the LinkedIn poetry groups has been discussing "which poet has had the most influence on you." After the first 23 days, 128 people had responded and most couldn’t keep it to just one poet who inspired them.

When I noticed that the majority of the influences were dead, (and many long dead at that), I decided to categorize all the responses. Here’s what I found:

  • 128 people responded in 23 days (the poll is still ongoing but I had to cut it off somewhere).
  • 201 dead poets were elected as influences.
  • 50 poets were living or had died only within the last year.
  • 3 people admitted they didn’t even read poetry.
  • 4 people (including myself) elected songwriters. The first person elected Alicia Keys and was roundly criticized for it. Not seeing this censure in time , I came along and made a case for Joni Mitchell (three of her early albums taught my appreciation of similes) and Sting (he taught me extended metaphors on his Dream of the Blue Turtles album, although "King of Pain" has some awesome similes, too), and one person later voted for Bob Dylan.
  • 4 people elected children’s poets: two elected Dr. Suess, one elected A.A. Milne and 1 elected Shel Silverstein. To be honest, I should have mentioned Dr. Seuss and Shel Silverstein, too. I was indeed influenced by the meter and word-inventions of Dr. Seuss and Silverstein’s “A Boy Named Sue” which I pilfered from my father’s Johnny Cash collection. The song made an indelibly subconscious impression on me for many years and my appreciation for internal rhyme and alliteration. 

If I’m being totally honest, I’d have to list Sonny Bono's influence in Cher songs as well. Thousands of listening hours later, some of that shit had to have seeped in!

  

10 Productive Poetry Workshop Practices

PoetsImagine all these fellows in a poetry workshop? What drama would ensue?

One thing lacking in most writing workshops is a few minutes taken at the beginning to discuss workshop etiquette and basic expectations. A few months ago, I polled my fellow Sarah Lawrence MFA workshop compatriots, (Ann, Murph and Joann), and my cousin Gretchen, a writing teacher in Alaska, for their advice on writing workshopping. 

More recently, Jane Friedman posted an interesting piece on the four dangers of writing groups. And although we did not discuss bad craft habits gained from and critiquing ineptitude found in writing workshops, we did talk a lot about basic etiquette:

 

  1. Come prepared. Read everyone's poems beforehand.  It’s impolite and self-absorbed to coast through other people’s work.
  2. Be fully present. Speak up but share the floor. There’s an art to knowing how often to participate. Practice it. Take a few deep breaths before each workshop. You're not only learning the art of writing, you're learning the art of conversation.
  3. Joann said to listen bravely to suggestions without interrupting to defend your choices. Come to the table with a thick skin or at least some skin. Critiquing implies your poem is imperfect to begin with. Let it go. No suggestions are cut in stone.
  4. Don’t rewrite it! Be mindful of the project you are not doing. Be open to genres you don’t love, read or are unfamiliar with. Don’t insist the work conform to what you would like it to be. Murph put it well, “Try to discern what the writer is going for. Say what you think succeeds in the attempt. Then, if you see a specific approach or tactic that might help the writer achieve her goal, define it and suggest it as an additional approach to try.”
  5. All the same rules you learned in Kindergarten still apply. Be nice to others. Share. Take turns. Don’t have temper tantrums. Follow the group rules. Being a ground-breaking artist doesn’t mean you should attempt to be a rule-breaking participant in a writing workshop. Groups require cooperation. Solo work does not.
  6. Focus on the writing. Don't get derailed by the issues presented within the writing or personal issues outside of the writing. Respect everyone’s time and intention attending a writing group.
  7. Feel free to ask that specific issues or questions be addressed, anything you know for sure you need help with or feedback on.
  8. Spend time with architecture.  Murph suggested creating outlines or arcs that can help define what is fuzzy or where something is missing.
  9. Listen to yourself. Murph says don’t ask questions that are criticisms in disguise.
  10. Don’t get addicted to writing workshops.

 Ann sent along this Buzzfeed satire of Jane Austen receiving feedback in an MFA program.

  

Publishing and the Poetry eBook Controversy

Poetry_foundation_iphone_app2The photo to the right is from the Poetry Foundation and their depiction of their mobile site. Preparing content for devices matters. A lot. Google is now ranking websites by their responsive design.

Jane Friedman just published the "State of Publishing in 5 Charts."  She asks us to note that "the decline in nonfiction print book sales pre-dates ebooks. Meaning: The Internet has slowly been eating away at the market for information delivered through the print book, particularly reference and travel."

She goes on to say:

"Ebooks have affected the print sales market for all fiction categories. The genres most severely affected: fantasy, general fiction, mystery/detective.

However, Nowell took time to point out that—across three of the biggest bestselling authors from 2008–2014—ebook sales have increased their overall sales, rather than cannibalizing sales."

This serves to remind us it's not all about the eReader. And if you simply must hate some technology, hate the iPhone (which aint goin anywhere, by the way). This Wall Street Journal articles talks about "The Rise of Phone Reading: It’s not the e-reader that will be driving future books sales, it’s the phone; how publishers are rethinking books for the small screen."

My latest frustration is trying to track down ebooks of poetry, the latest being Valerie Bandura's book "Freak Show". Black Lawrence Press has not released an ebook version. This is sadly typical.

I was inspired to buy her book based on excerpts from APR. And this is what usually happens: I read poetry in a journal that I like; I grab my Kindle and I search for the ebook.

There have been great strides made in formatting poetry for ebooks (Billy Collins' statements notwithstanding). Indents and special layouts can be accommodated. Also, an ebook is basically an HTML document. It's so easy, I've done one. I'm a customer ready to buy. I'm a customer that doesn't want piles of poetry books crowding up my house. I'm a poet willing to take many more chances with unknown poets at a lower price point. But 90% of the time, poetry publishers don't issue ebooks. I started a LinkedIn group discussion on this topic. Here were the results:

One publisher said,I know that our press will never release eBooks. They are a pain to format, and we like print.”

Sylvia said, “I don't know anything about ebook publishing, but I prefer them now because I've no more room in my house for bookshelves, or nightstands, or plastic bins filled with books. However, if I really want the book, I will buy it if it's only available in print.”

Kevin said,Formatting is indeed a pain. Granted, I don't code, but getting an intended line/stanza to render properly is practically impossible.”

To that, I responded that I’ve loved and have published printed books as well. I’m practically living like a book hoarder. I’ve also paid movers many times to move my books from house to house. A printed book is a work of art at its best and, for this reason, they aren’t going anywhere.

But…I've also formatted indented lines and stanzas for ebook publications. There are books out there now about how to format more complicated poems in simple HTML. Two good examples of existing poetry ebooks: Patricia Smith’s award-winning book Shoulda Been Jimi Savannah works with various formatting that comes across flawlessly in the ebook version and Kenneth Koch’s New Addresses. Copper Canyon is now issuing their back catalog in ebook editions.

You can also find technical help at a similar price to web design (if you don’t like working in markup code). Shortly someone will probably develop WSYWG software just for laying out ebooks. But as publishers, we seem more willing to pay for web page design, (the same HTML work), than for similar assistance with our ebooks, and realistically our books are our most valuable commodity.

When the business of selling poetry seems to be in decline, (due to lack of mainstream interest and poets themselves buying more anthologies, used Amazon copies, or just borrowing library copies), how many people like me are out there willing to buy new poetry books? I agree with Sylvia, if I really, really want it, I’ll buy the printed book. But I’d be willing to buy so many more new books of poetry (that I kinda want but don’t really need) if there were ebook versions.

It takes effort to frustrate a willing customer. Publishing is more than about doing what you love. Like selling any product or service, it’s a negotiation between what you love and what your customers love and need.

Then Richard said, “Well, it may be convenient when on a trip or vacation to have a reader. But, to me, nothing like a book in hand. Have more often than not been highly unhappy with ebook formatting, changing lines around if they don't fit their format page. Even was included in an anthology by the Kansas Writers Association and about had a fit when ALL the poems were screwed in some way or another; nobody could bother to "edit" it correctly, or question each poet with "proofs" before being published, just to be sure. Nice to have the publishing credit, but then you never want to refer people to the book, if it ends up NOT what you wrote in the first place…"

I replied to Richard that it does take knowledge of HTML to format ebooks. It's not simply a dump-it-in and publish affair, which unfortunately some publishers try to get away with. You wouldn't want to buy a printed book that was simply a photocopy of someone's handwritten novel. Different formats need different tasks to be applied. But plenty of poetry houses are doing it: Copper Canyon, Coffeehouse, Farrar, Straus and Giroux. It's just a matter of the publisher committing itself to learning how to do it.

Here's a New York Times article on the issue from 2014, "Line by Line, E-Books Turn Poet-Friendly."

Luke said, “Mary I understand your frustration. I too, wish there were more poetry offered in an e format. I'm old fashioned (no smart phone, etc) but have grown fond of the kindle. I'm a believer. I just read a great article about how the kindle and the tablet has encouraged reading and as a result more people are keen to try out things like poetry. Poetry sales are up as a result, bettering publishing houses and authors!"

Marie said, “Two presses that release ebooks simultaneously with print versions:

And yet it seems there are many publishers who just aren’t interested in listening to their customers. Imagine if Apple or your local restaurant felt this way. Experts estimate that about 80 percent of new products fail upon introduction and another 10 percent disappear within five years.  See “Organization Theory and Design” by Richard Daft (a book available in eBook, by the way) and this article from Forbes: http://www.forbes.com/sites/ericwagner/2013/09/12/five-reasons-8-out-of-10-businesses-fail/ !

Writers need to come to terms with a few things: one, that they are not their work and two, that their writing is not necessarily its format. Also, they need to come to terms with a new generation and their very different needs. Although I don’t agree with newness for it’s own sake, I like this comment by Seth Godin, a marketing and business guru:

"Change is the point. It's what we seek to do to the world around us. Change, actual change, is hard work. And changing our own minds is the most difficult place to start. It's also the only place to start. It's hard to find the leverage to change the way you see the world, hard to pull on your thought-straps. But it's urgent."

Another great quote:

"A great many people think they are thinking when they are merely rearranging their prejudices." William James

If you think outside the box, if you use poetry as research, if you read poetry explanatorily and don’t purchase every book of poems as collectibles, eBooks are the clear choice for format.

More Conversation

Here is a great conversation explaining why Amazon may not be the predictor of doom.

In a Jane Friendman's interview with Bo Sacks, he says, “print used to be the least expensive, easiest way to reach a mass audience. It was easy to print, and many people did. And there was lots of junk printed.”

Jane asks, "There’s all this conversation about print versus digital in publishing. How much is that a distraction?" He responds, "It’s a terrible distraction. Everything is as it was; only the substrate has changed. And I believe the substrate is irrelevant to the message. We as publishers are agnostic or should be agnostic to the substrate. We just want to sell you good words. I’m indifferent to how you choose to read those words. And that’s what’s happening, despite our fears and worries. Reading is not going to go away. And we should be respectful of the individual’s right to read on whatever substrate she wants."

Bo Sacks says we’re in the “Information Distribution Industry" (formerly known as "Publishing").

In other related news, here is an article on Self publishing scams: http://theworldsgreatestbook.com/self-publishing-scams-2/

And peaking of Amazon, strangely I see many questionable copies of my book for sale on Amazon from independent sellers, possibly more books than I’ve actually sold or given out. And one seller from Arizona claims that the dust cover is missing. The only problem being my book didn’t have one.

Which reminds me that my two Goodreads giveaways (resulting in 10 books given away) produced  zero reviews so I wouldn’t recommend bothering with those. I think they end up on Amazon! 🙂

  

October Poetry News

Ross gayFull disclosure, I had a class with Ross Gay at Sarah Lawrence so I'm taking this opportunity to enthusiastically name drop. I haven't read this book, "Catalog of Unabashed Gratitude,"  yet but I'm feeling very positive about what I've read about it so far, it's tone and the kind of mindful direction it seems to take. It's been shortlisted for National Book Award (Los Angeles Times).

Stamford jazz poet reflects on New Orleans 10 years after Hurricane Katrina (News Times)

Edgar Lee Masters, the American Poet Pope Francis Quoted (Time Magazine)

CK Williams Dies (New York Times)

Profile on Kenneth Goldsmith (The New Yorker)

 

Poetry in Unlikely Places

ScI started taking the Emily Dickinson Harvard online course a few weeks ago. While flipping through my Dickinson anthology, Final Harvest (it wasn’t), I came across a poem I had marked in college as having been in the movie Sophie’s Choice. Remember the scene where Meryl Streep goes into the big, intimidating library looking for Dickinson’s poems and mispronounces her name and then faints?

At least that’s how I remember it from the time I rented the cassette from Movies To Go. Later, she quotes this poem:

 “Ample make this Bed–
Make this Bed with Awe–
In it wait til Judgment break
Excellent and Fair.

Be it Mattress straight–
Be its Pillow round–
Let no Sunrise’ yellow noise
Interrupt this Ground—"

(1891)

Monsieur Big Bang and I joined our local food co/op this year. How happy was I to find a poem in the September newsletter? Very! It was a piece by a well-known ABQ poet, Hakim Bellamy. The newsletter is doing a series of his poems in partnership with the Santa Fe Art Institute around food justice, food security, food deserts (like local reservations and barrios).  Find out more at: http://sfai.org/food-justice/  and http://sfai.org/residencies/food-justice-residents/.

Here are two excerpts:

“Back when medicine men
and medicine women
could not save someone’s life
without seeing how they live.”

and

“…there is no time for hunting and gathering
between Bob’s Burgers and bus tops."

You can read the full poem on page 4 of the newsletter’s online version: http://issuu.com/lamontanitacoop/docs/september_2015_cc

Television!

Sometimes it’s good to look at what your competition is doing. If you don’t think TV is really your competition, (you’re so over it), listen to what this literary-lover has to say about TV today in this article form The New York Times.

Some poets I know love to keep insisting TV is the eternal boob tube. And two minutes later they lament about poetry's low readership, never noticing how out of touch they come across. Television: has so much changed or have people finally figured it out? You’re not competing with BAD television, your competing with GOOD television!

   

© 2024 Big Bang Poetry

Theme by Anders NorenUp ↑