Amy King on the state of poetry, the place of small presses

In a recent Huffington Post interview, Amy King pointed out the value of small presses in allowing authors to focus more on their own integrity than on what might sell well:  "If you have the freedom to publish online or through a small press and reach a good number of people, you will likely feel more comfortable writing exactly what you want. If a small press accepts even the outré or controversial work you do, you'll feel less pressured to conform to what a big publisher might deign to shill in the local B&N. In short, alternative means of publication=creative freedom, the mother's milk of experimental and progressive writing."

Read the full interview here:  http://www.huffingtonpost.com/travis-nichols/the-poetry-feminaissance_b_607561.html

Antiques and jewels for your writing pleasure

Looking for a writing prompt? Here is a treasure chest of objects and jewels. Pick a photo at random and suddenly you are in a room of fascinating nouns.

Take a trip to AAA Antiques and open a room. Send me your poem (email address here) by the end of January and I will blog-publish two or three of the most irresistable ones.

MYnd mAp, Gaye Gambell-Peterson

Gaye Gambell-Peterson's new self-published book, MYnd mAp, is described in an interview with Catherine Rankovic here: http://theconfidentwriter.blogspot.com/2009/10/talking-with-gaye-gambell-peterson-wine.html. Gaye talks about the creative process of combining poetry and visual art, in her usual precise and cross-pollinating way.

Gaye previously published pale leaf floating with Cherry Pie Press, and has created the cover artwork for some of the earlier Cherry Pie chapbooks (Breathing Out, The Permeability of Memory, Rotogravure). She has also provided support of the unmeasurable kind to Cherry Pie: humor, clarity of purpose, and indestructible nerve when I needed it most. Her poetry embodies those three qualities. Highly recommended.

Resources for Poets

A blizzard of manuscripts have come to Cherry Pie Press in the last few months, a result (I think?) of the increasing readership for the nine chapbooks now in print, and of the unexpected and welcome publicity from a review in Prairie Schooner of Nan Sweet's chapbook Rotogravure, and finally the attentions of Poets & Writers in highlighting Cherry Pie in their recent articles on chapbook publishers.

Welcome, poets! I'm a little slow at responding to manuscripts because of the welcome flood (and also because of the demands of the non-poetry office job, taking up much of my mental powers and many of my weekends now as we wind through yet another corporate merger -- but hey I LOVE THAT JOB just in case my boss is reading). The range and quality of the poetry is wonderful to see. My process, as always, includes reading through a manuscript at least three times. If it retains spark and complexity after three readings, it's a serious candidate or, at minimum, receives a serious and detailed response, and whatever encouragement is possible through the venue of an email.

Of special note, poetry of extremely high quality has come in from exactly the type of poets Cherry Pie was meant for -- women in the midwest (or, stretching it a little, the west) who are excellent writers, with fresh viewpoints and use of language, active in their local poetry communities and in many cases giving back significantly to that community with their time and talents, and a little separated from the mainstream well-funded well-supported larger world of poetry in the city or poetry in the academy. I am encouraged, and not surprised at all, to note that some of the finest poetry I've seen in the recent flood comes from places like a feedstore owner in Nebraska, or a mother home-schooling her children when she's not out working the ranch. (Ladies, you know who you are -- please keep writing!) Poetry is essential, but there's a real life there too in the balance. Children or an office job or some other kind of ballast is frequently a very good thing.

Submissions have also come in from Chicago, Michigan, Missouri -- many of them compelling, surprising in the best way. Thank you all!

With only one or two chapbooks a year, I send out more rejections than acceptances, and wanted to highlight some resources for poets looking for encouragement and a way to keep up their daily obligations but still get some wider connection to poetry. One well-categorized and very useful resource is http://resources4poets.homestead.com/index.html, from Bernadette Geyer. It's a series of how-to guides and articles and recordings of readings that is easy to dip into or to take a long nosedive into, as time allows.

One more slot filled in the tool-belt, girls!

St. Louis photos - would this work for poetry?

Here is an interesting photo project that I think would work equally well for poetry -- anyone want to try it?

A hundred local photographers threw darts at a St. Louis city map. Each person had to follow his or her dart (to whatever city block it had landed on) within the next month and come back with photographs. This web site shows the amazing results.
http://www.dartstlouis.com/

New and wonderful lit mag locator

Newly tops on my list of luscious and utterly useful websites for writers -- litmags.org! Go explore, and do check out the search, advanced search, and especially the "list all mags" section, where you can easily identify a publication based on color-coded criteria. This is ideal for someone searching for print-only, for experimental interests or more traditional. It's the only place I've seen where you can quickly find publications that print poetry only. For prose writers, some of the search capabilities are even more refined (e.g. word limit).

Most of the entries indicate whether they have been submitted by someone on the staff of the literary publication, to help you gauge the accuracy of the information. You can also submit comments about the publications.

The well organized and visual nature of the website make it a pleasure to use.

Women Poets Mentoring Each Other

Here's essential reading, with a growing list of thought-provoking comments -- Annie Finch's piece on Women Poets & Mentorship in Poetry Foundation's Harriet blog.

Hamamelis, a.k.a. Witch-hazel

February, land of dreary gray and also of opening-up things. The landscape here at Cherry Pie is the wheat-blonde of winter, that bland hay-colored absence of color that the living world takes on while it's not actively living. Everything else is gray and brown -- until this week.

Witness the arrival of Hamamelis, the first fireworks to emerge from winter -- witch-hazel. Her name is from Middle English roots of "Witch" or wiche, and that from the Old English wice, pliable or bendable. She is a wild-haired lady.

Here she is, marching around Cherry Pie land. Her accompaniment is a small and optimistic crowd of daffodil shoots.

Send me a poem about witches or witch-hazel. I'll post the most interesting ones.

Rankovic's essay on Don Finkel

Catherine Rankovic, local essayist extraordinaire, has posted an interview she did with Don Finkel years ago. It is more than worth checking out -- go here to read it: http://ucollegeblog.blogspot.com/.

The essay is a tribute to Don, now one of St. Louis's lost treasures, and also an insightful and humbling portrayal of the arc of one great poet's career as the poetry publishing industry collapsed in the 1980s and left so many poets stranded, fading into "out of print" and with no publishing outlets available. Finkel's attitude toward life, his way of keeping focus on writing and on what mattered (the relationships around him), and his eternal good humor all provide good sustenance for any writer.

Rankovic has written a number of essays based on interviews with poets. It is a true pleasure to have this one posted online. She is precise, aware of the vast local and industrial background against which her subject matter is poised, and her eye for her subject matter is more accurate, and tender, than any camera.

The Domesticated Writer

David Gessner's piece in The New York Times on his decision to take a job teaching writing is food for thought. He provides a guided tour of the last hundred and fifty or so years of possible means of self-support for writers, and shows how the job of teaching writing evolved from being seen as a sinecure to finally being a real job.

This topic is always interesting to me, as I have made a number of decisions keeping me away from a career in the academic world. Sometimes I regret that choice; most times I don't. Others exist there happily, and balance their creative writing with the teaching of it, apparently without terminal conflict. I would rather make a living in a world that is separate from the world where I write. Either way, it's a divided life of sorts--just a slightly different flavor of division.

Gessner talks about the need to have some kind of a job, despite the price you pay for that divided life.

It’s not just a question of success or even genius, but temperament and discipline. Young writers think all they need is time, but give them that time and watch them implode. After all, there’s something basically insane about sitting at a desk and talking to yourself all day, and there’s a reason that writers are second only to medical students in instances of hypochondria. In isolation, our minds turn on us pretty quickly.

Yes, sad but true. Every writer's fantasy about winning the lotto and plunging 100% into creativity without the ballast and worry of bills and obligations isn't all it's cracked up to be.

That said, now I'll go back to my world of cubicles, computers, co-workers who ride motorcycles for fun instead of read books for fun. After all, there are bills to pay....

Life and Death and Poetry - Julie R. Enszer

As part of the upcoming web-based WOM-PO poetry festival, Julie Enszer has contributed an article on women poets that should be required reading. It is incisive and expansive (as Julie usually is) and thought-provoking. She writes of poets who have committed suicide and our need to see the cultural conditions surrounding them, and understand them as a way to see our own future as "one that is released from these oppressive narratives. Our future is--and must be--one where we are the recorders, not the suicides. Our future is--and must be--where we bear witness to death and to life so that we can all live inspired, not shackled, by the poetic muse."

Enough said. Go read it.

Kay Ryan, new poet laureate

Surely you've heard by now that it's time for a change of hands at the post of Poet Laureate. Kay Ryan is the new one -- the Washington Post has an article and video of her reading a wonderful poem (although beware that the video quickly spins on to the next one on file so you might suddenly be listening to John McCain!)

The Post article describes Ryan's long path to seeing herself as a writer, the longer path to getting anything published, anything recognized, and the support from her partner of 30 years, Carol Adair, and how that solid support helped organize a private campaign to keep sending out poetry submissions through the usual swamp of rejection letters. That long swamp is where most of us begin to limp, to say it might not matter, and turn inward or away. Luckily, Ryan kept going. The last few years have been a long-awaited carnival of recognition -- I saw her work first when it became a regular feature of Poetry magazine -- but that's just the last few steps on this long path. Her story is an inspiration for poets still in the swamp of despair. Take heart!

Oh Canada

A few weeks ago I mentioned the fun you can have entering poetry contests that force you to write quickly. The one I'd entered was from a Canadian journal, Contemporary Verse 2, and supplied a list of challenging words to use in a poem written under a 48-hour deadline. The words ranged from "buckle" to "thorax" (no, I'm not kidding -- oh those Canadians). I had been reading a biography of Walt Whitman, and although he is an un-Canadian theme he was thoroughly ensconced in my mind at that point, so the poem ended up being about Whitman. Well, results are in and my Whitman poem placed on the "longlist" of 17 runners-up. I'm delighted! It was thoroughly fun.
See the poem here: http://www.contemporaryverse2.ca/contest_2daylonglist08.html#9.

Timing is everything

In Jane Hamilton's novel, A Map of the World, the narrator begins by weaving a context of past, present, family, inner predilections, habits, and setting the stage for a tragedy that starts the book off on its amazing and haunting journey. By page 21 you are as close to the narrator as her own skin, and the tragedy has occurred, and her husband tries to shake her out of shock by saying: "Tell me, Alice. Say something." That simple phrase made me tingle and stop -- and then I realized that until that point, I knew the names of every other character, and the speaker had repeated those names many times, creating a web of family and history and familiarity, and yet I hadn't known the speaker's name. Alice. It lands there gently, unexpectedly, almost unnoticeable except for the little tingle it leaves, and it enters at just the right moment, as Alice steps into a landscape where she will lose and try to find herself. Identity there will be tenuous but critical.

Alice. Thunk.

Here is the red wheelbarrow (WC Williams) that so much depends upon, common and utilitarian and quotidian, arriving just when it should. Small but essential. Timing, in novels as in poetry, is everything.

Day Job

Some poets have one; some don't -- the "day job." Recently, a long and interesting discussion on the WOM-PO newsgroup list centered on how writers who have a "day job" (a non-poetic, non-academic job in the business world) balance work and art. I wonder.

I do feel like an oddity when the topic comes up. I've always had a day job, and all along have made the conscious choice to not use art to feed spirit and pocketbook at the same time. I am amazed by folk who are able to make a living from their skill with words -- generally indirectly by being a teacher of literature or writing -- and can still summon up the magic of creation when it's time to write. They have my admiration and respect. They are probably less schizophrenic than I am.

Keeping spirit and pocketbook separate does present problems, even though it's the only form of balance I feel capable of. At work, poetry is nearly always there, but unvoiced. It's a ray of light glazing the edge of the windowsill in the copy room. It's a story a coworker tells, some dialect or tone in it that surfaces as a song. I pocket the moment, write it down later. It is an exercise in finding the extraordinary within the ordinary.

It frees me up to keep career-related ambition, fear of poverty, and drudgery out of the poetry sandbox. Of course, the downside is that it's more difficult to be connected to the world of writing, and to keep poetry a priority when things get hectic or when work imposes pressures and deadlines.

Of the five authors published in the Cherry Pie series so far, two work in an academic literary setting, one in an academic nonliterary setting, one is a retired elementary teacher, and one is raising a child and working part-time in a medical office. Three of them have worked (unpaid of course) as editors of either poetry or fiction publications. My own jobs have included medical copyediting and computers (programming, now quality assurance).

Poetry comes in so many guises. It has no uniform.

Poetry chapbook publishers and contests

Publishing your poetry with Cherry Pie, or any other chapbook publisher, is fraught with the usual limitations. What if you don't fit the basic M.O. of the press? For Cherry Pie, you need to be a woman and have some link to the midwestern states. What if you write great poetry but I (no, say it's not true!) don't like it? Or what if I love it but (it happens) your style is simply not what I can produce and promote, given the synergy I'm trying to develop among the Cherry Pie publications? (For example, if you're a language poet or a visual poet, I can't do you justice.) What if your work isn't suited for a chapbook, but would work better as a traditional poetry book, and you just haven't figured that out yet? What if I simply can't publish everyone who's good? And I can't -- I only print about two chapbooks a year.

There are a hundred reasons to check out other poetry chapbook possibilities. Here are some starting points.

http://www.chapbookfinder.com/publishers.html lists quite a few chapbook publishers and their websites. Notice that many of these have a clear emphasis.

http://www.everywritersresource.com/chapbooks.html Another list, with some overlap of course.

Some chapbook publishers of note:

Finishing Line Press has its long-standing New Womens Voices series at http://www.finishinglinepress.com/newwomensvoices.htm

Concrete Wolf produces astoundingly beautiful chapbooks. Like many chapbook publishers, they are looking for chapbooks cohering around some central theme; check their submission guidelines. http://www.concretewolf.com/

Kristy Bowen's Dancing Girl Press is definitely something to look at. Kristy does the production work herself, specializing in hand-crafted chapbooks, so you'll find beautiful and unique covers, nice layouts, but perhaps spotty stapling and trimming. The work she publishes is excellent, fresh, frequently amazing, and all of it is worth reading. http://www.dancinggirlpress.com/. Spend some time wandering through her websites -- she is innovative and energetic and has lots of stuff going on. She's recently set up a studio space (this is in Chicago) and is apparently using it for workshops and sessions on both writing and producing chapbooks. Definitely someone to watch.

If you compare these three chapbook publishers, and Cherry Pie, you'll note we have obvious and unique leanings toward certain types of poetry, certain audiences. We all differ in what kind of marketing support we provide to an author. Look for a publisher who fits what you want to do for and with your own work. Look also for what you are offering the publisher. (If that one's over your head, skip down and read Chris Hamilton-Emery's article from Salt.)

Think of a chapbook as one more way to get your poems out into the world. A chapbook is not instead of a book or other publication. A chapbook is something unique, offering a special format and different audience and marketing possibilities. The chapbook you publish today will follow you forever. I picked up Frannie Lindsay's recent book, Lamb, mostly because I had read an obscure chapbook she'd published with Pikestaff Press over 25 years ago. You've probably never heard of Pikestaff but the founders, Bob Sutherland and Jim Scrimgeour, are friends from far back and provided me with a vision and example of poetry as a moral and creative force, long before I could have imagined such a possibility on my own. (http://www.pikestaffpress.com/) So I tend to pay attention when I see a name that has passed their scrutiny. Evidently Perugia Press, who published Lamb, agrees, and I'm glad. I read many of Perugia's titles (always remarkable) but might not have tried Lamb if I hadn't remembered that older chapbook.

Here are some thoughts on how to pick a publisher, how to figure out if a chapbook is really what you want, and general good advice on writing and getting published:

http://www.happenstancepress.com/Want%20your%20pamphlet%20published.htm Happenstance is a Scottish chapbook publisher with a loaded website. (The graphics are simple and wonderful!) Follow the link above to the document called "Bluffer's Guide" for wise and helpful advice. Also well worth the read (but maybe not worth the download time -- you'll need to be patient if you want to see this one) is the DO's AND DONT'S guide.

Salt Publishing has a great article on publishing. This is an excerpt from Chris Hamilton-Emery's book, 101 Ways to Make Poems Sell: The Salt Guide to Getting and Staying Published. http://www.saltpublishing.com/info/submissions.htm. It's an excellent, witty and humbling article that any poet wanting to publish anywhere, in any format, needs to read. The language here is direct and blunt (and entertaining) about the truths of poetry in the marketplace, and what you as a writer can do to influence that. And it talks forthrightly about the importance of reading and reviewing. (How many new poetry books / chapbooks have you written reviews for lately? Even on Amazon? Come on, 'fess up...) Much to ponder here. The complete book is available through the website. (Keep in mind that due to our weak dollar, the price of 10.99 pounds will translate to a bit more than 10.99 U.S. dollars.)

For many writers, the do-it-yourself route is an excellent option. You control the production and the marketing. The chapbook can be elegant or simple. You have books in hand to give away or sell at poetry readings. You can market them through local bookstores too, or via a blog or website. (But poetry readings will always be the best and main place to sell or distribute your work.) Here's an entry point into the do-it-yourself and micropress world of blogs and website information: http://diypublishing.blogspot.com/.

Chapbooks are only one way to print and distribute your work -- don't forget broadsides, bookmarks, postcards. The possibilities are endless. A small item with a sample poem and contact information is inexpensive, useful, and generous to the reader.

Keep your poems safe

After pouring your heart and soul into your poems, do yourself a favor and make sure you don't lose them. A few basic steps can prevent tragedy.

There are various ways of making a backup copy -- copy to some external media such as flash drive or separate hard drive, or for some people a printed copy will work just fine. But what happens if that copy goes AWOL? Backups are as likely as your primary copy to develop technical problems and become inaccessible. Consider a worst scenario -- if your house burns down have you lost your primary copy of your work AND your backup copy? Big-time ouch.

So pick a backup method that will survive a worst scenario occurence, and keep your backup current. I back up to a flash drive, and am considering an external hard drive as a faster and more reliable way to do that. I also back up to an online secure area - I used to copy everything to briefcase.yahoo.com but have recently found box.net to be easier to use, and just as free. An added bonus for online backups is that my poems are now accessible anywhere I can get internet access. Most online backup services also provide a way to share specific folders, so you can keep your backup private but copy poems into a public shared folder and define who gets access to that -- great if you need to collaborate with someone.

As a publisher, I have the same (or greater) backup concerns with my contact list, sales history, and copies of any chapbooks published or in process. Online backups are perfect for this. And a public shared folder (where I control access) is handy for backing up a cover image and also sharing it with the author while we're making final production decisions.

Ok, backups done. What else? Basic security. My day job is at a large publicly traded corporation, and since I work with computers and am responsible for supporting some of our traveling / consultant financial advisors, I can sometimes find myself on the bleeding edge of security concerns. Laptops out in the field will run into the same security issues you and I run into at home, but on a larger scale since an infected laptop can (I kid you not) bring down a significant portion of the whole company. They aren't as easy to lock into the tight security network that the in-office computers are corralled in. So let's just say I've grown paranoid, with good cause, about computer security. And I know that even some of the security whizzes at my company will confess they've been hacked or phished or otherwise faced security risks on their home personal computers despite their deep knowledge of security and despite following all the "best practices" for preventing such problems.

So whatever you are doing for security, do just a little bit more. If you're already keeping your operating system and your virus scanner and your firewall updated, great. (If you're not, go back to GO, do not collect $200, and you're already a lost cause, sorry.) Take one more easy step and go to http://www.secunia.com/, and in the left column under Software Inspectors select the "Online" option. You'll go to a screen that will offer to scan your computer for any security risks caused by out-of-date software. Yes, this is important. Outdated software versions in something as innocuous as iTunes can let a hacker or virus plow through your system with a backhoe. So select the "Start" button and wait for the bad news. (If the Secunia software won't run, you most likely have a terribly outdated version of java, and you should take a detour to http://www.java.com/ and ask it to check if you have the most current version of java -- if you're outdated that site will let you download the latest version.)

Secunia will present a list of software that you should upgrade, and it will describe the security risk each presents, and give you a link where you can update to the latest version. I thought I was in good shape until I tried this Secunia scan -- my version of java was totally obsolete (it doesn't automatically prompt you to update like some other software), and once I'd fixed that I had a list of half a dozen programs that had turned my system to Swiss cheese despite all my care with virus scanning, firewalls, and backups. I had to update iTunes, RealPlayer, Adobe, Adobe Flash Player -- it was really really embarrassing!

Secunia is reasonable in its reactions too -- it will only flag an outdated version if there's a risk associated with it. So you might find you can keep an older version of your browser or some other software, as long as there's no security risk.

Alright, poet, now you can sleep at night...

Call for Submissions

Doors are open once again. Cherry Pie is looking for 2008 chapbooks.

If you are a woman poet with roots -- literary, biological, or metaphysical -- in the midwestern U.S., please look at the Submission Guidelines (right column of the blog -- down, down, under the picture of the pie, there!) before sending your work.

Or, click here for a copy of the submission guidelines.

Postcard poems

Sometimes it's lonely out there. Oh heck, most of the time it's lonely. Of late I've been involved in some "poetry postcard" projects that set things back in balance. I have a list of names -- bless the organizers of this thing, Lana Hechtman Ayers and Paul Nelson -- and every week I write a quick poem on the back of a postcard and send it off to the next name on the list. Postcard poems are intended to be written quickly, not pored over, not edited -- hey, what's outside your window right this minute? Write it down!

And every week I receive, from some poet I don't know, a lovely poem on a postcard. Postcards range from beautiful to whacky, from commercial to fully hand-fashioned with scissors and glue. Poems range from the silly to the sublime, and are sometimes a response to a picture or poem received. A great idea, and in this lonely world of poetry this effort guarantees that for every poem written there is at least one reader.

Here's one of mine, with that thought in mind, and the postcard I sent it off on was a computer print of a nebula with red and blue and black gases from a photo found at the NASA website.

Audience of One

Go fling yourself, blue nebula,
into the red and black spin of the universe.
Go on, nobody you know is watching.
Follow the laws of your own
physics, the chemical command
you've no choice in.
From the inside, you must feel
so woozy, gases going in all directions.
Galaxies away from you, I see
who you were, who I
might be, if I stare
hard enough
at your vast
and passing
art.

Putting your poems in a chapbook and passing them out to strangers is often like that, I think. The effect is immense and tiny at the same time. Awesome.