Recent Publications

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The end of 2016 and the beginning of 2017 have brought a few new poem publications I’m thrilled to share. Most recently, “Others Carried Milk” was included in the Sibling Rivalry Press collection, If You Can Hear This: Poems in Protest of An American Inauguration. The collection is amazing and inspiring, and was assembled by Bryan Borland and the fine crew at SRP nearly instantaneously. You can buy a copy for yourself and, if you’ve got some scratch to spare for a good cause, you can purchase additional copies that the press will distribute for free to communities who might otherwise not have access to the work. If you are not able to spare the $15 at this time, SRP has made a PDF version available (see instructions at purchase link above) for free.

If publication is any kind of evidence, 2016 was, for me, a year for poems written in traditional meter/form. Three of them (“Braid,” “At the Pool Hall,” and “Scansion”) were published in the Winter 2016 edition of Able Muse: A Review of Poetry, Prose, and Art. A villanelle I wrote about Summer Lake at the Playa Artist Residency Program appeared in the Fall 2016 issue of Measure, along with great poems by at least three other New Hampshire poets (Robert Crawford, Midge Goldberg, and Kyle Potvin).

I was also so honored to be included in new editor Karen Head’s first issue at the helm of Atlanta Review. My poems, “About Suffering” and “Lake Michigan Is So Clear Right Now is Shipwrecks are Visible from the Air” appear right after a great set of poems by my teacher from the long-ago, Ted Kooser.

2016 was a good year overall, publication-wise — poems also appeared in Rappahannock Review, Cutthroat, River Styx, Nimrod, Panoply, A Dozen Nothing, Bloom, and Adrienne: A Poetry Journal of Queer Women. I’ve got a few poems set to be published in journals this year, but looking at my “work sent out” list, it’s a bit short just now. Time to send more poems out!

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I Will Never Be Caught Up With All This Reading!

Summer is about to turn the corner into August, and I find myself simultaneously working on the stuff I need to finish before the semester starts and continuing to cram as much bonus reading into my days as possible. As in years past, the reading pile is tall and varied, and even includes issues of literary journals I subscribe to, but don’t always keep up with during the school year. Once again, I find myself catching up on Crab Orchard Review (V. 20. No. 2: “20 Years: Writing About 1995-2015”) and finding some real gems I want to make sure my vast and curious readership is aware of.

The lead-off short story, “A Recipe for Mice,” by Amy Knox Brown is so sad and tender and weird and a little creepy! It’s the story of one man grieving the loss of his wife using some uncommon “recipes.” His grief, as well as his anger and frustration with some new neighbors, takes several unusual shapes as the story progresses. I think I might need to share this with my Creative Writing students this fall.

You know, it really is a pleasure to find new stuff to share with students as examples, pieces to get them thinking about the possibilities of imaginative writing. Another from this issue is “Ten Long Weeks at Sea” by Susanna Childress. I love how this poem takes two very different subjects or ideas and weaves them together such that each of the two gets stronger and more interesting. I’ll let you know that one of the subjects of this poem is the giant squid. The other? Go see for yourselves.

Jim Daniels‘ “Filling Out the Health Questionnaire” reminds me to urge students of the pleasures of “found” poetry in all its shapes — the pleasure being multi-faceted — finding, (re)arranging, (re)shaping, (re)combining. This poem is also a great example of finding the profound in the mundane, which has always been, for me, a poetic motivation. The last lines are just terrific: “There is a history of death in my family / that I believe I have inherited.”

I write this from Washington State, visiting my mother on the Kitsap Peninsula, right up the Hood Canal from the Bangor Submarine Base where my dad was stationed for three years when I was a kid. Being here in this house, and going through a lot of my dad’s Navy memorabilia (he just passed away last year and was in the Navy for 30 years; his own father was in for 20), has me perhaps especially primed to love Jehanne Dubrow’s poems, “[To A Navy Wife, in Maryland]” and “Reunion Porn.” The creepy voyeurism of “Reunion Porn,” accompanied by “the itch / of empathy” is very affecting.

I am a sucker for persona poems, and it’s an assignment I almost always give in poetry workshops I teach, so of course I enjoyed Tom C. Hunley’s “Officer Down,” in the voice of the Simpsons’ Chief Wiggum. It turns out to be quite a tender poem, about the Chief’s love for his son, the goofy Ralph Wiggum.

Finally, I loved J.D. Smith’s “Zombie Requiem,” which I will share with my students as an example of one way to write a successful political poem. The poem’s argument here is sneaky — and I guess its moves, although free-verse, are almost sonnet-like in the unfolding of its argument and its turn at the end.

Crab Orchard Review has always been one of my favorite literary journals — I always find memorable work between its covers, they pay writers, and their editors are first-rate literary-community citizens. I hope you’ll join me in celebrating and supporting their important work.

 

 

Building Up to Emerging: Tips for Applying to Fellowships, Residencies and Workshops

Some great, specific advice here on applying to residency programs and other opportunities.

Women Who Submit

by Xochitl-Julisa Bermejo

The first time I applied for a fellowship was in spring 2009. I was about to finish grad school, and I sent out a slew of applications like I was applying for a PhD. I figured it was the next logical step as I readied myself to move beyond my MFA program, and I had the mentors close by to help. I gathered transcripts and letters of recommendation, curated samples of work and wrote project proposals. I remember one mentor agreed to write a letter with what I perceived as little enthusiasm. When all the rejections came in that summer, I read the bios of those who won and took notice of all their previous awards and accolades. I thought back to that mentor and considered her lackluster support the response of someone who understood the literary world better than I did at that time.

See what…

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Finding Place on Paper: Contemporary Poets and Printmakers Explore the White Mountains Today

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Plymouth State University’s Museum of the White Mountains is seeking poems by writers from (or connected to) New Hampshire and the New England region, for whom the White Mountains have played a role or been a source in their work, for the upcoming show, “Finding Place on Paper: Contemporary Poets and Printmakers Explore the White Mountains Today.”

This exhibit will display poems alongside prints to explore and respond to the White Mountains as a place. Details are still being finalized, but selected poems may be paired with artworks for visual display and/or included in printed material associated with the show. We are especially (but not exclusively) interested in shorter poems (14-24 lines) as they tend to afford more flexibility with respect to visual presentation of the text. There may also be a reading at the Museum during the October 24 – December 16 exhibition.

Previously published poems welcome if the author retains copyright. Interested poets should submit 1-3 poems, a brief biographical statement and contact information, all in one document (.doc, .docx, or .pdf), to Liz Ahl at eahl AT plymouth DOT edu. The deadline for submissions is August 15, 2016. To learn more about the Museum of the White Mountains, please visit http://www.plymouth.edu/museum-of-the-white-mountains/

Here’s a PDF version of this call — please feel free to download and circulate with my thanks!

Call for Poetry — Museum of the White Mountains