A Poem about Peonies

One of my personal favorite poems over the last few months comes from Keith Byler, who is part of a writing group I've been with for several months now. This poem won a place on a St. Louis bus, along with one of mine, in the Arts in Transit contest here this spring, so if you're lucky enough to be from St. Louis you may have seen it during your morning ride. For the rest of you, here it is:

Dog Days

Flat blue-pale parchment sky
hangs blank

save for still life blazing sun.

Peonies weep in their beds
shoulders sagging,

heads bent into leafy hands.

Lorna Dee Cervantes - where the poet dwells

"That's where the poet dwells: in conditions and relations." So says Lorna Dee Cervantes in an interview from 2003. She's talking about the real human element, underneath the niceties your mother taught you, and underneath the highly encoded language of blues and folk music that contains -- once you unlock the history and language -- more than you think you can bear.

If you want to cut through the abstractions and little prides of your life (all our lives), through the often-academic priorities that poetry sometimes gets too lost in, and get right down to the bone, go read the interview. Count on spending quite a bit of time with it, as Lorna Dee Cervantes speaks from the heart, direct, with both feet firmly planted on the ground and with her arms embracing all of humanity and naming it her own, even after calling out its horrid contradictions and meanness and stupidity. She finds, in the end, the true meaning of being a poet, in some advice from mentor Hayden White: Follow your obsession. And she does that, digging into the history of songs by Memphis Minnie. Follow that trail back to me, since the songs uncover history of the 1917 riots in East St. Louis (a stone's throw from Cherry Pie Press, and with no small influence on current life in St. Louis). It is all personal, it is all in the relations between us, and the conditions we experience and must write from.

Where does the trail find you?

This is from the Michigan Quarterly Review, and is an interview with Alex Stein: http://quod.lib.umich.edu/cgi/t/text/text-idx?c=mqr;cc=mqr;sid=e05280ee21429c514e8a7b2be607a265;q1=Cervantes;rgn=main;view=text;idno=act2080.0042.406

And for some poetry, here is her expansive blog: http://www.lornadice.blogspot.com/.

"The Language of the Heart" - a poetry contest

Calling all St. Louis area poets! Gitana Productions is sponsoring a poetry contest for poems that touch on the teachings of Rumi. The contest is based on the premise that art can heal ethnic and racial divisions (and St. Louis, like most places, has its share of those). Feed your optimism and hop on board for this!

There are cash prizes as high as $300, and poets will read their winning poems at an event at the Regional Arts Commission on October 18.

Contest information, plus stories about the fascinating work of Gitana Productions, can be found here: http://www.synergy-pr.com/media/GitanaProductions/24/303/1. The contest deadline is October 10, so you still have time!

To poets interested in publishing a chapbook --

Publishing a chapbook is very different from publishing poems in journals. With journals and magazines, the publication has a ready-made audience and your poem is introduced to that audience. With a chapbook, there is no audience but the one you already have in hand and the one you are willing to expand through your own efforts. Cherry Pie will do its best to help – send out review copies, send out announcements, place the book at the best independent bookstore in St. Louis (Left Bank Books). Ideally, your chapbook will benefit from prior and future Cherry Pie publications, sharing those existing audiences, and expanding that audience for other Cherry Pie authors. However, with chapbook marketing you – the author – are the bottom line.

Here are some questions to help you determine if you are ready to publish and support marketing of your chapbook. Don’t let the questions overwhelm you but do allow them to push you. The marketing of a chapbook has much more to do with author effort than it does with the quality of the poems. (There you have it, the dark but true underbelly of chapbook publishing.)

If you don’t already have an established audience or faithful reading friends, a chapbook gives you a good chance to build that, if you are willing. If you are not willing, then the chapbook will sit on a shelf and be read by very very few people. It will not be worth your effort, or mine.

If you are merely looking for the satisfaction of seeing a small collection of your poems nicely printed, please go ahead and do that yourself. If you think having a small press name on the book adds some mysterious air of legitimacy, then make one up. (I’m not being sarcastic – I applaud this approach. It will encourage you to regard your work more seriously, and that’s a good thing.) Your local copy shop or a good desktop printer can accomplish this cheaply and you will be in total control of the effort. Consider giving out copies free to all your friends. Consider giving it to strangers. You will gradually build an audience, and you will have a small collection of poems to be very proud of.

You don’t need me for that.

On the other hand . . . If you have read some of the poems from Cherry Pie authors, and you want to be associated in the reading public’s mind with those authors, and you feel your own work is equal to or better than their work, and you feel you have something to say or show about U.S. poetry that is bone and root part of the Midwest experience – its rivers, its cities, its world-blend of cultures and histories, its plains and its Ozark mountains that are more ancient and more worn and therefore smaller than the Rockies – then let’s talk.

The following questionnaire is intended to help you think through the reasons for and implications of publishing a chapbook. The answers you come up with are not for me, but for you. They will help you figure out if this is really what you want to pursue. And they will help you ensure your work, if it published as a chapbook, does get read.

AUTHOR CHAPBOOK MARKETING QUESTIONNAIRE

Title of chapbook: _________________________________________

What response does the title elicit? Would it make a reader want to pick up your chapbook and open it? Is the title about tangible things (objects, senses) or is it about an idea (to be pondered)? Is the title simple and memorable, or would an interested reader need to write it down to remember it? Have you checked Books In Print or Google for books or songs or anything with a similar title? Did that search turn up anything you don’t want to be associated with?

About you and the background you can bring to the effort of marketing your chapbook --

URL of any blog or website you might use for publicity:

Present occupation (your day-job):

Previous jobs:


Educational background (traditional or nontraditional):


Principal cities and states in which you have lived and in which you still find memories and personal relationships:


About your poetry and your work within the world of poetry --

YOU MAY NOT BE ABLE TO ANSWER ALL OF THE FOLLOWING QUESTIONS.
JUST ANSWER THOSE THAT YOU CAN, BUT DO THINK ABOUT ALL OF THEM.

Please list other books you have written, including publisher, year of publication, and type of book (i.e., poetry - specify book or chapbook, or fiction, how-to, essays, children’s book, biography, etc.). Include any anthologies your work was included in. Do any of these books share a potential audience with your poetry chapbook?

If you listed any books in the item above, describe what marketing was done by the publisher and by yourself. Tell if the book was adopted by a book club, reading circle, academic class, workshop.


Have you ever edited a publication? Have you ever served as a reader or on the board of a literary publication? (Literary journal, anthology, etc.)


Have you done community service work related to poetry? Poets in the schools, poetry workshop organizing, any volunteer or officer or board role in an organization supporting poetry, etc.

What local poetry groups do you participate in, and what is your role in each?

What local poets have you openly supported – by attending readings, buying their books, asking a local library branch to order their books, writing reviews for them or recommending their work to others?

List any reviews of your work, with place of publication, reviewer’s name:


List any poetry book or chapbook reviews you have written, with name/author of work reviewed, place and date of publication (web or print):


Publications (specify web or print) where your individual poems have previously appeared:



Poetry readings you have participated in within the last 3 years (place, date, solo or group reading):


Poetry readings you have helped organize within the last 10 years:


Honors, citations or prizes you have received related to poetry:


Why did you decide to collect your poems in this chapbook instead of printing individual poems in a wide array of web or print journals? Or instead of putting together a full-length poetry book? Or instead of making a website or blog where you could post all your poems?


What is the theme of your chapbook or your mechanism for ordering the poems?


Are there groups, other than other poets, to which your book would have particular appeal?


How is your chapbook unique?


With which published poets do you feel your work has resonance? (A different way to state this is, If you like to read poet X then you will also probably like to read my work.)


As a poet, what are your strengths?


Does your chapbook have something in common with other Cherry Pie chapbooks? Does it solidify or does it extend (no wrong answers here, folks) the kind of poetry Cherry Pie has published?


Have you investigated other chapbook publishers (how many?), or self-publishing?


About your ability and willingness to market your work --
Are there any well-known people (locally) who should see an advance copy of your manuscript for purposes of giving a pre-publication promotional quote? If so, list their names, their contact information, and describe their relationship to you and/or the book. Indicate whether you think it would be more effective for Cherry Pie or for you personally to contact each one.


Please list any local or specialized media that should receive review copies of your finished chapbook. Indicate if you have a professional relationship, or previous reviews, with a reviewer or editor at the publication.


Please write a brief biographical sketch appropriate for the general news media and to be used on press releases.


Do you regularly attend any major conventions or conferences related to poetry, writing, academic studies, or any subject area related to your chapbook?


Have you read any of the previous chapbooks from Cherry Pie Press? What could you offer in terms of publicity for your own chapbook that would help get previous Cherry Pie chapbooks into the hands of new readers? What might you expect other Cherry Pie authors to do for you?


What do you expect your publisher to do in publicizing your chapbook?


Thank you!

A Stranger Here Myself - kudos received

This praise just in to Niki Nymark on the release of her chapbook, newly available now through Left Bank Books:

Jerry and I celebrated a warm (as in not hot) Saturday afternoon by trekking to the Central West End. I had Barry [of Left Bank Books] dig A Stranger Here Myself out of his office so I could buy it. Then, as we waited on a shady sidewalk for our turn on Duff's patio, I read your poems out loud to Jer. What nice moments you provided!...

Huzzah to you, and to your publisher. I am also Greatly Impressed that the suitably flattering back cover blurbs are by Richard Newman and Steven Schreiner. Whoo hoo.

A gorgeous book in every aspect.

gaye gambell-peterson

New chapbook: A Stranger Here Myself by Niki Nymark

Cherry Pie is pleased to announce a new chapbook by Niki Nymark! A Stranger Here Myself is funny, tragic, warm and wise. Steven Schreiner (University of Missouri-St. Louis MFA program, and Natural Bridge) says it best:

"Niki Nymark's beautiful poems revel in the relationship between hardship and humor. Whatever this poet learned in childhood from the quiet sorrow and disappointment of parents, she turns into joy and wisdom through her skill. These poems are defiantly youthful, passionately observant, and tender as a bruise."

Read some sample poems:

In Praise of Prose


Forsake poetry.
Prose is better—
more dependable,
less dangerous,
like that nice boy
your parents hoped
you’d marry.

Poetry is the one
you’d climb
out the window
to meet at midnight.

For Moishe

What have we found,
seventh decade love,
on the phone at night
telling jokes so old
no one else would laugh,
the Laurel and Hardy of ecstasy.
I slip on a banana peel;
you catch me in your arms.

I Regret Nothing

Turn and it’s gone,
the anatomy of youth
with all its succulence
and warmth.
Agreed, it took an eon
to make all the blunders
that etch my face.
Je regrette rien, rien.
Gravity tugs at
my attention,
hangs on my crumpled chin,
frightens me at night
from the mirror.
The brown spots
on my hands
are shaped
like little broken hearts.

A Stranger Here Myself (ISBN 978-0-9748468-7-3) is $10, is now available. Email Cherry Pie (cherrypiepress@yahoo.com) or call Left Bank Books, 399 N. Euclid, St. Louis, MO 63108 (ph 314.367.6731). (Left Bank will have the chapbook in stock soon -- ask them to hold a copy for you if it's not on the shelf yet.)

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!

Small publishers and the chapbook marketplace

Looking for a small press? Here's one more place to browse if you're trying to find one that fits your aesthetic (and might be interested in your poems):

http://www.poems.com/pubs_noted.php

Books and chapbooks are listed for about a year after being received. Links are provided to books available through Amazon (so only those from the larger presses, since Amazon has locked out the small low-budget presses that can't afford to pay the fees and 40% cut to Amazon).

You'll see this year's Cherry Pie chaps listed on http://www.poems.com/, but without, of course, the Amazon links.

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.

Assembling the Poems - The Map Yeats Left Us

As I'm going through the process of reading poems for the next chapbook and making suggestions about how to order the poems -- oh, there are so many ways to do it -- I found a captivating presentation by the National Library of Ireland on exactly this topic. William Butler Yeats' volume The Tower is traced from original poem drafts through publishing in periodicals through publishing in separate volumes, culminating in the collection called The Tower.

To find this "map" go to the National Library of Ireland website, and in the Yeats exhibit look for the "Interactives" link at the bottom of the main page, and follow it to Poetry in Process: Building the Tower. You'll get a map of the poems, and you can trace each one through drafts and publications. Look especially for the poems that display a little reel-shaped icon -- these take you to a "tutorial" which is an extended walk through the drafts of the poem, showing how Yeats revised, in many cases going back to his original word or stanza pattern after many revisions. Such tutorials are included for Leda and the Swan, Nineteen Hundred and Nineteen, and Sailing to Byzantium.

The other parts of the exhibit are interactive and allow you to tour all the rooms and display cases of the exhibit, with detailed information for each piece you click on. It is beautifully done, a wonder to behold for anyone interested in Yeats. This is a far cry from women poets in the U.S. midwest, to be sure, but I found it a trip worth the taking.

The exhibit:
http://www.nli.ie/yeats/main.html

Happy Birthday, Gloria Gordon!

Gloria Gordon, treasured member of Loosely Identified writing group (and many other writing, social and political groups) is celebrating a well-earned birthday, and in honor of that I'm posting one of her poems that appeared in the group's anthology, Breathing Out: Poems by Loosely Identified.

Ode to the Refrigerator
(after Neruda's Odes to Common Things)

How noisy you are!
I forgive you because you are old
with surgical scars
yet still keep working in summer heat.

Your faithful heart beats
even when no one is here
putting carrots in, taking tomatoes out;
more vigorous this summer than last!

You are a miracle from Pre-Plastic History--
metal drawers open and close with authority;
the solid clink of your glass shelves.
What persistence!

Thank you Gloria Gordon, for a terrific poem, and all your terrific years.

The Urge to Believe - noted by Left Bank Books

Left Bank Books has picked The Urge to Believe is Stronger than Belief Itself as a 'recommended pick' in its July newsletter. A short review by Left Bank staff member Erin Quick:

St. Louis poet Erin M. Bertram's latest chapbook, The Urge to Believe is Stronger than Belief Itself, is a collection of prose poems grounded in the experience of dealing with cancer--namely breast cancer, though it largely goes unnamed in the book. With a daughter's kind, eager eye, she looks at what safety can be found in a name, gleaned from the seeming order of definition (whether from a dictionary or medical pamphlet) even when faced with the treachery of meaning. From the opening lines of Rilke to the book's final words, the solid actuality of language belies our frankly human experience of loss and its echo, pain. In such a world, where we are always reaching, even our mother's breasts bear the fragility of existence. In such a world, "any change is worth noting."

Poetry to Read on Summer Vacation

Some poetry miscellany to uncover interesting new reads:

Maxine Kumin - Christian Science Monitor has a wonderful audio slideshow of Kumin reading from her newest book set against pictures from her farm. Note that the farm is named "Pobiz."
http://www.csmonitor.com/2008/0415/p13s01-bogn.html?page=1

Wikipedia list of poets -- slanted for lots of reasons, but still an interesting place to browse, discover new poets, follow links. The list is alphabetical, but alternate links at the bottom of the page allow you to organize them by many interesting categories.
http://en.wikipedia.org/wiki/List_of_poets

A blog that provides birthdays of poets. You can find poets that share your birthday, or you can follow throughout the year and learn a new poet or two every day.
http://birthdaysofpoets.blogspot.com/

Review: Legacy, by Jane Levin

I recently received a slender, elegantly printed book of poems in the mail from Jane Levin, former St. Louis resident now in Minneapolis. She had found this blog, and sent off the poems. I recognized her name from past involvement in the women's movement here in the 1980s, but we had never met. This encounter through the blogosphere, with a slim volume of poetry as the conduit, is the sort of lucky and random connection computers allow.

Legacy is Jane Levin's first book, and is from Moonflower Press (price $8, inquiries to moonflowerpress at gmail dot com). It is slim--20 poems, and most of them are brief...in the way Emily Dickinson's poems are brief. Spare, finely edged, and the resonance afterwards is huge. Here is the opener:

Atoll

her life

is an
atoll

tiny islands of dependency
alluring from oooooo afar
up close
a relationship
of sand

she leaves at
oooooooooooo high tide

oooooooooooo floats

Some of the poems are about the author's fight with ovarian cancer; some are deeply sensual lesbian love poems, or poems about the harder societal aspects living a lesbian life; some are about Jewish culture; some are funny. One of my favorites, perhaps because of the title that splices one type of gambling (emotional) into another (financial, as in the commodities market) and layers it into a new understanding of risk, is this:

Futures

Clumps of wavy brown hair cover my pillow
like November leaves.
She leans close,
scoops a curly nest into her cupped palm,
wraps it in tissue paper, whispers
just in case.

Tears trickle down my chest,
flat as Nebraska.
She licks the moist prairie,
files its taste under "beloved."

Understated and overpowering -- rare in a first book, where the usual tendency is to over-write.

Lines here will draw you in, and the small poems will enlarge you. They invite close attention, and give it back.

Preservation

In the interest of conservation
recycle a poem

to kindle
reuse each word
every line

The Urge To Believe

The latest release of the Midwest Women Poets Series from Cherry Pie Press is an extended piece by Erin M. Bertram.

The Urge To Believe Is Stronger Than Belief Itself is a meditation on connections and cleavings. Its backdrop is a story about how breast cancer recreates the ties between mother and daughter. Seen through the lens of language, relationship is stronger than illness. Bertram’s poetry is a quiet crescendo of love and attentiveness that connects and redefines whatever it touches.

“But are you not, as you said, your body. Is it not, in its own quiet heft, 2 percent your agile frame. I’ve done the math, twice. One night, on a dare, I tugged one of mine from its cup, placed it on the postal scale on my desk. It rested there awkwardly, weighed 2.5 lbs. Once I woke clutching them both, groping for a loophole, a patch of dry skin, guilty of having & holding what you no longer possess.”

Erin M. Bertram's The Urge To Believe Is Stronger Than Belief Itself (ISBN 978-0-9748468-8-0) is available locally in St. Louis at Left Bank Books, 399 N. Euclid, St. Louis, MO 63108 (ph 314.367.6731), or from the publisher cherrypiepress@yahoo.com.

Click here to view a downloadable flyer/order form for The Urge To Believe Is Stronger Than Belief Itself.

Erin M. Bertram is a fellow and instructor at Washington University in St. Louis, where she studies Women & Gender Studies and poetry. She is the author of three other chapbooks: Alluvium (dancing girl press, 2007); Body of Water (Thorngate Road, 2007) which won the Frank O'Hara Award; and Here, Hunger (NeO Pepper Press, 2007) with Sarah Lilius; and the micro-chapbook Wise Raven (Big Game Books, 2008). Her work has appeared or is forthcoming in Barn Owl Review; Bloom; CutBank; Forklift, Ohio; Knockout; So to Speak; and others. She edits Shadowbox Press.

A mother of us all - Joan Lipkin

This Mother's Day, I'm thanking Joan Lipkin for all the mothering she's done over the years. She is the quintessential example of how to use art to change the world and to improve the lives of individuals. She's recently written an article on her own Mother's Day mode of honoring her mother's contributions to the world and to the development of her own mettle, and describes it here: http://www.thevitalvoice.com/node/255.

Joan is an essential part of St. Louis and its art, St. Louis and its heart. She has brought theatre and audiences together in unexpected, challenging ways, working with high school students, people with disabilities, all the while up-ending and challenging the audiences thoughts on democracy, disability, gender roles, and the power of art. Last year she won The Ethical Society's St. Louis Humanist of the Year award (http://www.ethicalstl.org/hoy2007.shtml).

You can read more about her on the web site of her theater creation, That Uppity Theatre Company, http://www.uppityco.com/index.html. Thank you Joan, for all that you've brought to so many of us.

Poem Bakeoff Winners!

Thanks to all who sent in a poem for the Cherry Pie Poem Bakeoff. Competition was hot, plentiful, and -- I'm glad to report -- yummy. I had planned on picking a single entry, but there were three competing for that spot, even after multiple read-throughs. So the results include a first-place winner, and also a second-prize and third-prize winner. I'll also mention some choice lines from other poems.

The first-prize winner will receive free copies of all three Cherry Pie chapbooks to be published in 2008. Since second and third prizes are now included (it's just so hard to say "no" when the poems are good!), those winners can each select one free chapbook from the 2008 selections.

The three Cherry Pie chapbooks for 2008 are:
The Urge To Believe Is Stronger Than Belief Itself, by Erin M. Bertram (May 2008)
A Stranger Here Myself, by Niki Nymark (late summer 2008)
Weaving the Light, by Mary Ruth Donnelly (fall 2008)


Here are the winning poems.

First Prize goes to an untitled cinquaine (loosely) from Dianne Ladendecker. I was charmed and astonished each time I read this economical little wonder.

The brine
Then there's the knife
It's out of proportion
I hear eerie sounds of half-life
Opera

Second Prize goes to Gaye Gambell-Peterson for a pantoum about a middle-aged mermaid. I was intrigued by the well-used effect of the pantoum's interlocking structure, and completely sold on the "C-sharp half-life, caught in the half-light" which mingles echoes of music, radiation/decay/science, time, and water so beautifully.

Mermaid’s Pantoum

I am unrepentant mermaid, middle aged.
Flesh and scales still in seemly proportion,
though wrinkled by brine and tattered by time.
Still adored, a diva of fathomed opera.

Flesh and scales still in seemly proportion,
a siren, chanteuse, my voice a knife-edge
shrill, adorned. A fathomed opera’s diva
in a C-sharp half-life, caught in the half-light.

A siren, chanteuse, my voice a knife-edge
cutting through tides. Me, under the weather,
caught in sea’s half-light with only a half-life,
still luring men with plaintive arias.

Cutting through tides, me, under the weather
though wrinkled by brine and tattered by time,
still luring men with plaintive arias.
A middle-aged mermaid, unrepentant am I.

And Third Prize goes to Elizabeth M. Johnson, who gains an extra point for incorporating the full title of a Cherry Pie chapbook (Kiss Me Cold). Some of the required five words in this poem were used in variant forms (e.g. disproportionate instead of proportion) and although I've seen many contests be strict on that count, I'm constitutionally unable to be strict and so will allow it. The poem's worth it.

Ending It

Last summer, in the months without an “R,”
we ate oysters, the jagged edges of
the shells were sharp against our tongues, the brine
cool in our throats, delicious as the crisp

sea salt against our skin, the beach bonfire,
the Great Bear asterism far above,
an operatic swell in the timeline
of us, peace tenuous but in our grasp.

But now the months have “Rs.” Also, “-embers.”
You lumber toward me, and I try to move
away; your heavy body next to mine
seems wildly disproportionate. You clasp

me, kiss me, cold, your lips a slick steel knife
at my throat. No half measures, just half life.

Congratulations on the great poems! The other entries were wonderful, and I hope everyone had fun with the contest.

Notable lines or moments from other entries, that I just couldn't resist:

From Bobbi Lurie, a prose poem that started off: "brine she says is nothing but the half-life of the pickle. . . "

And from Gail Eisenhart, a sinister love poem that included: "this tryst / has the half-life of house-fly."

To wrap up, an unexpected "non-winner" that simply must be mentioned for its refusal to follow any rules, and for the delightful poem that resulted. This is from Katherine Mitchell, who attempted a poem using the five required words but ended up with a poem that used a form of one of the words, did not use the other four at all, and is titled as a haiku but is, in fact, not a haiku. So here is a poem of . . . great resistance? Katherine sent it in as a non-entry, and I reproduce it here as such. Not a prize-winner, but in many ways a winner!

Summer Haiku

paddle boats float
on two tanks
painted copper lake

paddlers wear pajamas
hold champagne flutes
small rising circles
happy tongues

water smoothed
butter knives in cake frosting

orange bursts
over the horizon
sending heat
inside our paper lantern faces

Poem Bakeoff - Get those last-minute entries in!

Poems have been rolling in, embracing a banquet of forms. Sonnets, pantoums, free verse, we got 'em! You have until midnight tomorrow to send in your entry if you've been dallying.

Big Diesel Chapbook

What better place to publish a poem than a vehicle that moves constantly through the city with an all-day captive audience? The Poetry in Motion project this year has selected 15 poems -- one of my lucky poems among those -- to appear on local buses. Think of it as a big diesel chapbook.

See the poem posters here -- scroll through all the selections by clicking on the arrow at the lower right corner of the displayed poem.
http://www.artsintransit.org/PIM08.html