In late May, I spent a few days on a private writing retreat back in North Adams, Massachusetts. I grew up in the area and it is the subject of my poetry collection work-in-progress, so it is helpful to me to be back there to work on it. (I wrote about it here for Stream of Consciousness Saturday, so even more rambling than I am when I have the luxury of editing myself.)
Part of the reason it is helpful to be back there is that I’m relieved of most of the caretaking/errands/planning/phoning/corresponding that take up a lot of my brain when I am at home. As if to make up for my being away for a bit, my return was greeted with an avalanche of problems that I may, finally, be at the point of seeing light at the end of the tunnel.
I will not bore you with any details other than to say that anyone who has ever had to deal with a complex issue with a US insurance company has some inkling of what it has been like times three.
The update on the manuscript is that it is in the hands of my poet-friends with an eye toward doing a full review sometime in the next few weeks. I was fortunate that I had returned from North Adams with the poems basically done and ordered. I powered through writing the foreword and end notes before June hit so I was able to pivot to dealing with bureaucracy.
Fingers crossed that personal life will calm down in time for the manuscript review and for a couple of weeks for revision time so that I can send the manuscript out for July submission calls. Tupelo Press just helpfully reminded me that they will be having an open submission period for manuscripts in July. After attending the inaugural Tupelo Press/Studios at MASS MoCA residency week in 2015, I promised that I would send them work. I didn’t think it would be this many years before I would have the manuscript completed, but I am looking forward to finally keeping that promise. I feel especially obligated to send this to them because so many of the poems intersect with MASS MoCA, my time there, and the art.
I will, of course, be sending the manuscript to other publishers and contests because one needs to cast as wide a net as possible to find the right fit between the press and the poet.
For the recently concluded National Poetry Month, the Broome County Arts Council invited local poets to contribute a short poem about spring, hope, and/or other positive things for their POETREE.
I had hoped to make it down to the gallery to see it and take photos for this post, but I didn’t manage to do that. Instead, I have copied the poem I wrote especially for the project below:
Why We Will Never Use Weedkillers by Joanne Corey
Every spring, we watch the jagged-edged three-ness of strawberry leaves emerge from the snowmelt-soaked lawn, the white five-petaled blossoms attract the bees to their sunny centers, the green-white berries ripen to red in June, the squirrels feasting.
Seven years ago, I began participating in the Binghamton Poetry Project, a community outreach program of the Binghamton Center for Writers. Binghamton University graduate students facilitate free poetry writing workshops for children, teens, and adults. With the pandemic, sessions have had to move online, as have our readings and anthologies.
We had our spring reading and anthology launch today. I contributed three poems to the anthology, which you can find here. I read the poem “Conveyance” from the anthology, as well as “Meanwhile…” from my collection manuscript and “SARS-CoV-2: A Novel Coronavirus” which is currently on display as part of the Empty the Inkpots exhibit at the Vestal Museum.
I had very little formal instruction in poetry when I was in school, so I appreciate all the lessons in the craft of poetry that I have learned through the Binghamton Poetry Project. For example, in this last set of sessions I learned about zeugma, a device which I used in “Conveyance.”
I especially appreciate connecting with my local poetry community, not only the graduate students and participants but the wider poetry community in our area. When I was looking for a year-round poetry workshop to share feedback on my work, Heather Dorn, who was then the assistant director of BPP, connected me with what is now the Grapevine Group. I rely on the Grapevine poets to help me see what I need to refine in my poems. Seeing their work in progress has taught me so much about writing and revising. I’ve also learned how to give and receive constructive criticism. I can sometimes even manage to figure out the truest path when I get suggestions that directly contradict each other!
I hope that the Binghamton Poetry Project will continue for many years to come. BPP is supported by grants and is blessed with an ever-evolving set of Binghamton University graduate students serving as facilitators and administrators. I know there will always being poets in our community wanting to write, learn, connect, and share the gift of poetry.
It’s been quite a poetry reading week for me! I shared the link for my reading with the Broome County Arts Council here and now I will be sharing an event that happened on Tuesday evening which is now available for viewing through Facebook.
The event began with an interview of Dr. Louis Hoffman and Dr. Lisa Xochitl Vallejos, both of whom are psychologist/counselors and poets. They are the anthology editors, as well as contributors of poems and authors of the introduction and response activities. I was fascinated to hear them speaking about how they use poetry in and as therapy. The discussion resonated with me as a poet who recognizes the power of poetry to evoke deeper truths and who often uses writing to work through my reactions to real-life events.
Following the interview, over a dozen of the poets read their work from the anthology, including me. The range of work is wide and, as you might expect, some of the topics of the poems are difficult. A poem that dealt with racism was especially searing as we had learned the verdict in the George Floyd case just hours before the event.
The links in the second paragraph will take you to the reading and to University Professors Press if you wish to order your own copy of the anthology. You can also navigate to other volumes in the series, which I’m sure are all equally illuminating about the human experience.
I posted here and here about the first two readings from the Broome County Arts Council in celebration of National Poetry Month. I am pleased to announce that this week, I am featured along with Rindi Tas and kohloa, two poets whom I met through the Binghamton Poetry Project. We were scheduled to be joined by another BPP poet, Anita Shipway, but technical difficulties prevented Anita from joining us. The recording of the reading and our bios are available here.
I’m not sure how I came to be invited to participate in this series but I was honored to be asked. And excited. And nervous. This is my first time as a featured reader with a Q&A component and I was anxious to do a good job, knowing that most of the readers in the series are much more experienced, knowledgeable, and academically credentialed than I. I asked poet-friends to review my selections and practiced my reading, recording myself on Zoom to see how I sounded and looked. I plead guilty to over-thinking and over-preparing, but it kept me a lot calmer when we recorded.
I possibly babbled a bit answering Barrett’s questions. Barrett is part of the Grapevine Group, my local circle of poets who meet on a regular basis to workshop our poems, so we are used to “talking shop” together, but I’m not used to interacting with him in a formal setting. He asked thoughtful questions that flowed from the choices I had made for the reading but I am not great at thinking on my feet, so you all can be the judge on whether I made sense or not.
Because I didn’t take up poetry as a serious pursuit until recent years, I am not that well-known or widely published. I decided to do a mini-sampler of the kinds of poems I tend to write, realizing that I would be an unknown quantity to most prospective listeners. Of the four poems I read, only one is published. It appeared in the Nov. 2020 anthology of the Binghamton Poetry Project and can be viewed here.
The recording should be available on the BCAC website at the link at the end of the first paragraph, at least for the next few weeks. It will also be broadcast locally on the Bundy Museum’s radio station WBDY-FM radio (99.5 FM). Because I’m not sure how long BCAC will have the webpage active, I’m embedding the youtube link here, which I think will be permanent:
If you choose to give the reading a listen, I hope you enjoy it. Please feel free to comment here or on the Top of JC’s Mind Facebook page. If you want to send me a private message at firstname.lastname@example.org, please put a comment on this post telling me to check for it so it doesn’t get lost among the various digests and posts sent there. My inbox is out of control!
I’m pleased to announce that I have a poem on display in my hometown. The Vestal Museum has just opened a new exhibit entitled Empty the Inkpots: The History of American Typewriters. They are displaying vintage typewriters and have compiled a binder with their research on the various manufacturers. In collaboration with the Binghamton Poetry Project, the Museum is also displaying poems by area poets who have attended BPP workshops. We poets were invited to submit and I was fortunate to have one of my poems selected.
One of the fun things about the poems on display is that they are written in a monospaced typewriter-style font. Because most of us are used to reading text in variable-width fonts these days, the look of the poems on the page is quite distinctive.
Because it is very hard to read from the photo, here is the text, although not in the special font:
SARS-CoV-2: A Novel Coronavirus
We are only beginning this novel, the first scenes in China, then South Korea, Iran, Italy.
In the United States, chapters are written for the hardest hit states— Washington, California, New York.
No cases in West Virginia— turn the page— it’s there, too.
Chilling numbers give way to vignettes— the family in Jersey that lost four members with two more in critical condition,
the NBC audio tech silenced forever, the loss of the doctor who tried to warn the Chinese government, the bus driver in Brooklyn dead in March.
The plot twists. The newest regions in lockdown. Italian coffins in rows, waiting
for cremation and burial without funerals. Speculation on treatments and vaccines, though none are proven.
Fines levied for being outdoors. Postponed elections. Shuttered courts.
How many tested. How many infected. How many dead.
We spend hours reading voraciously, awaiting the next installment in the serial.
The novel is long— and we may still be near the beginning. How many of us will see the final pages?
The suspense is killing us.
Joanne Corey, though she grew up in New England, has called Vestal home since 1988. A stalwart of The Binghamton Poetry Project since 2014, she last attended the fall 2020 workshop and also has participated locally with the Grapevine Group, the Broome County Arts Council, and Sappho’s Circle. She invites you to visit her eclectic blog at topofjcsmind.wordpress.com.
Inspiration: Like many poets, I write to try to process current events. I drafted this in March 2020 as the pandemic was beginning and workshopped it with my poet-friends of the Grapevine Group. It also became an exercise in the use of extended metaphor. *****
I wish I could share more of the poems here, but I only have permission for my own work. I hope that local folks will be able to see the exhibit in person. It is currently scheduled to be on display through May 31st. The link in the first paragraph will give times that the Museum is open and information on any special events.
While you are there, make sure to take part in the community poetry exercise. We are creating an exquisite corpse poem. Each person is invited to compose a sentence with adjective+noun+verb+adjective+noun without looking at the prior line. Bonus: You get to type it on a manual typewriter! Although I learned to type on a manual, it had been a long time since I had used one. Daughter T was with me and I had to do a bit of coaching. Physical carriage return was not something that she had ever experienced.
The Ekphrastic Review has a regular series of Ekphrastic Writing Challenges, in which they post a piece of visual art and invite writers to respond to it. I have had several poems published in this way.
Here is a link to the artwork and response pieces for the most recent challenge, “The Two Sisters” by Théodore Chassériau (France) 1843. Among them is a poem by Kyle Laws, fellow Boiler House Poets Collective member and ekphrastic writer extraordinaire!
My piece was not chosen in this go-round, but I thought I’d share it here. Enjoy!
Is it the matching outfits that proclaim sisterhood – my sisters and I in pale
yellow with coordinating hats and gloves for Easter mass –
my daughters in black velvet with lacework collars in a rare formal portrait –
my granddaughters in rainbow- and-unicorn pajamas in pandemic London –
or is it the dimples that appear with smiles the entwined arms
You can see responses from seventeen writers, including me and fellow Boiler House Poets Collective member Kyle Laws, at the link below. Many thanks to The Ekphrastic Review founder and editor Lorette C. Luzajic for the always interesting Ekphrastic Writing Challenge features. Enjoy!
As those of you who know me personally or who have been reading Top of JC’s Mind for a while are aware, I consider myself to be a community poet. I have next-to-no academic training in literary analysis and creative writing. I sometimes tell people that I write by instinct, but, like this blog, it is more another manifestation of the way my mind works, influenced by what I’ve read and my fortunate affiliation with groups of wonderful poets who share their work, critiques, and knowledge with me.
One of these groups in the last few years has been the Broome County (NY) Arts Council. They have sponsored several series of poetry workshops, led by Dr. Joshua Lewis. This has led to our first ever foray into publishing, a collaborative chapbook, Transformations. (The link takes you to a page with several options for download, priced at either $1 or $1.99 depending on platform.)
There are six poets represented: Pamela Olivia Brown, who also designed our cover, Joanne Corey (me), the aforementioned Joshua Lewis, who also acted as editor, Anita Alkinburg Shipway, Tony Villecco, and Harrison Young. We each submitted three poems without regard to a specific theme, but some commonalities emerged. We met to deal with ordering the poems, which is always a fraught process. I am pleased – and still somewhat shocked – that my ordering emerged as the favorite, with a couple of tweaks from the group.
In re-reading the book, I am struck by how the different styles and voices of the poets reflect common life experiences and deepen our understanding by approaching from various perspectives. Although there are only six poets, we represent different generations, races, ethnicities, genders, and places of origin. (I am endlessly fascinated by the influence of place, especially the rural/urban/suburban dynamic.)
[A note: It’s possible that your download will have an issue with pagination and layout. For example, I lost the stanza breaks in my Apple copy. I’m not sure if it is because I am using an older device or if there is some other reason. I can assure you, though, that all the words will come through to you, which is the most important consideration.]