Two poems in RAR!

I’m pleased to announce that I have two new poems published in the Fall-Winter issue of Rat’s Ass Review! (In case you are wondering about the somewhat unusual name, read the longer version of their submission guidelines, which is one of the most informative, honest, and entertaining I’ve ever encountered.) Many thanks to current editor Roderick Bates for choosing my work for inclusion in this issue.

There are 61 contributing poets plus cover art, so there’s lots to enjoy! Contributors are arranged alphabetically, so you will find my poems listed under Joanne Corey. Clicking on any poet’s surname takes you to their bio in the last section.

The inspiration for my first poem “The Banned Bookmobile” is a project under development at WordPlace, the Southern Tier Literary Center at the Bundy Museum, Binghamton, NY. J. Barrett Wolf, director of Wordplace, is planning to assemble a collection of banned/challenged books in a bus that can travel about to present programs on the First Amendment, censorship, and other topics. (Editor Rick Bates helpfully made the title of the poem a link to the web page for the project.)

For those of you who may not be familiar, in rural/underserved communities, it was common to have a bookmobile visit several times a year, giving schoolchildren and adults the chance to borrow a wider range of books than were available in town. I remember the excitement in my rural New England town of 200 when the bookmobile visited. Although I loved our town library, it was very small and the bookmobile offered many more options.

My poem references several books/series that have been banned from various schools or libraries in the United States, including And Tango Makes Three, the Harry Potter series, The Bluest Eye, and To Kill a Mockingbird.

“Video Chat with our 95-year-old Father” was written in early 2021, shortly after Paco had moved into the assisted living unit of his senior community. Due to pandemic restrictions, my sisters and I weren’t allowed to visit his place, even though I lived nearby. The staff would set up a video session with their iPad and then leave to attend to other duties. Unfortunately, Paco had difficulty grasping the situation and the technology involved.

As always, comments are welcome!

My First Chapbook!

I am thrilled to announce that Hearts, my first chapbook, will be published by Kelsay Books in 2023! I don’t yet have an exact release date but expect it to be around September.

Kelsay Books was founded by poet Karen Kelsay in 2012 and currently has over a thousand titles listed in its bookstore. This makes it a much larger press than most of my previous submissions, some of which went to presses that only publish one or two titles a year. I took a chance submitting to Kelsay because two of my local Grapevine Poets, Jessica Dubey and Burt Myers, have books forthcoming from them. I’ll be sure to post their books here at Top of JC’s Mind when they become available.

Kelsay publishes poetry exclusively under four different imprints: Aldrich Press for free verse poetry up to 90 pages; White Violet Press for formal poetry up to 100 pages (Burt’s category); Alabaster Leaves for chapbooks under 50 pages (Jessica and my books will be under this imprint); and Daffydowndilly for rhyming poetry by adults for children.

Another welcome feature of Kelsay is that they respond very quickly, generally within fourteen days of submission. I received word of acceptance on day ten. This is blazingly fast. The typical response time for prior submissions I had done was six months, with a few taking more than a year to send out rejections.

Hearts centers around my mother, known here at TJCM as Nana, particularly in the last years of her life as she struggled with heart failure. The first incarnation of the chapbook was assembled in fall of 2017 as an entry into the QuillsEdge Press contest with the theme “Transitions.” It was named a finalist and the poem “Sixteen Hours” was included in an anthology that was published in conjunction with the winning manuscript, Skin Gin. That version also placed in the top 1% of submissions in another contest.

That early positive feedback proved to be important in the following years. As Nana’s health continued to decline, I wrote poems to help me process but couldn’t think about reworking the manuscript. After her death in May, 2019, I took some time to extend, workshop, and edit the chapbook and started sending it out in spring of 2020. That version was a semifinalist in a contest but was also getting a lot of rejections from contests and open submission periods.

I continued to do edits and added a new poem in spring, 2021. At that point, my father, known here as Paco, was entering the last few months of his life, so doing submissions faded into the background. He passed away last September and I returned to doing a few submissions before the end of the year. I was doing submissions for my full-length manuscript, as well.

Kelsay was the 34th submission for Hearts in its various forms.

There is a difference of opinion on whether that is a lot or just run-of-the-mill. Most of the people that I’ve told have noted my perseverance and commitment in the face of rejection but a few, who have decades-long experience as poets, think thirty-four isn’t that bad or unusual.

For now, I’m still feeling joy mixed with relief. In these past years, I’ve watched many of my poet-friends publish their first books and had begun to wonder if I just wasn’t good enough. Now, I’m coming to think of it more as finding the right match. Kelsay Books makes clear they are seeking manuscripts that are accessible to a general audience. I consider myself a community poet, as my experience has come through workshopping with fellow poets and community poetry sessions with the Binghamton Poetry Project and others, instead of from academic studies. I tend to write in a narrative style. While I occasionally write in Chinese/Japanese-derived forms like tanka, I have never written anything decent in traditional European forms, like sonnet or villanelle. Every once in a while, a rejection email comes with a bit of feedback, which tends to run along the lines of my work not being crafted well enough or sophisticated enough. While I do continue to work on craft and revision skills, I will never write like someone with an MFA (Master of Fine Arts) degree.

And that’s okay.

It’s just easier to believe now that I can say I have a book forthcoming.

I’m sure I will post more about this as I work through the process of publication and gain more skills along the way. Style guidelines. Fonts. Cover art.

One of the blessings of being in a community of poets, though, is that help is available if I need it. I also now have a publisher with a team of professionals to get my book out into the world.

It still feels strange to be able to say that.

But I think I could get used to it.

BPP Spring 2022 Anthology

I’m pleased to share the Binghamton Poetry Project Spring 2022 Anthology. The Binghamton Poetry Project is a grant-supported outreach program in which graduate students in poetry and creative writing from Binghamton University offer free community workshops, offering children, youth, and adults the chance to learn more about and write poetry. BPP moved online during the pandemic, although we are hopeful that an in-person workshop will be possible again this summer.

This spring, I attended two workshops. My poem “Aubade with Birds” was written in response to a prompt in Suzanne Richardson’s workshop, Fresh Images and Form. This was my first attempt at writing an aubade, which the Poetry Foundation defines as “a love poem or song welcoming or lamenting the arrival of the dawn.” I seldom write love poems and this one is definitely more on the lament side.

The other two poems were written during Shannon Hearn’s FIELDING TENDER: Nature Writing for the Apocalypse. “Kaʻūpūlehu” is based on a visit to the dryland forest preserve by that name on the Big Island of Hawai’i where daughter T interned during a semester spent in the Islands while she was a student at Cornell University. B and I were not able to visit during that semester but made a trip there several years later with her. Kaʻūpūlehu is an amazing place; you can see some videos and photos and learn more about it here.

The haiku in the anthology is one of five I wrote during a fun session with Shannon in which we wrote haiku in response to an image and a randomly generated word. (There is a note with the information on the word and image included on the page with the poem.) There was quite a bit of laughter that evening as some of the images and words led to pretty fantastical literary leaps, but I thought this particular haiku managed to make sense apart from its origin in the exercise.

Thank you for visiting the Binghamton Poetry Project anthology. Please check out the other poets while you are there. Some of the past anthologies are also available through the drop-down menu.

She Quits the Garden: A multivoice video chapbook

I’m excited to share this post from Marilyn McCabe, announcing her newly published video chapbook, She Quits the Garden.

Marilyn had shared these poems with the Boiler House Poets Collective at one of our residencies at MASS MoCA before their remarkable transformation into a multivoice video chapbook. Enjoy!

O Write: Marilynonaroll's Blog

Thrilled that this project found a home on PoetryFilmLive. As it’s a video chapbook, it’s a bit longer than my usual work, so I hope you’ll hang in there for the 10 minute run time.

https://poetryfilmlive.com/she-quits-the-garden/

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JC’s Confessions #23

In the first few seasons of The Late Show, Stephen Colbert did a recurring skit, then a best-selling book, called Midnight Confessions, in which he “confesses” to his audience with the disclaimer that he isn’t sure these things are really sins but that he does “feel bad about them.” While Stephen and his writers are famously funny, I am not, so my JC’s Confessions will be somewhat more serious reflections, but they will be things that I feel bad about. Stephen’s audience always forgives him at the end of the segment; I’m not expecting that – and these aren’t really sins – but comments are always welcome.

JC

National Poetry Month Edition:

I’ve been struggling to regain my sense of myself as a poet.

This is ironic because, when I first turned to poetry as a means of self-expression ten or so years ago, I didn’t have any problem calling myself a poet. I was writing poems, so I was a poet. I remember early on reading a short essay from a person who had an MFA in poetry, had published at least one book, and was editing a poetry journal, but couldn’t bring himself to say that he was a poet because he wasn’t suffering for his art. I was perplexed.

I managed to still think of myself as a poet through the labyrinth of dealing with years of family health and caretaking issues. I was still writing and workshopping and doing residencies with the Boiler House Poets Collective and doing sessions with the Binghamton Poetry Project and Broome County Arts Council. I wasn’t submitting to journals as much as I should have, but I did put together two manuscripts, one chapbook and one full-length collection, which I started submitting to contests and publishers. In recent months, I have also been submitting individual poems to journals more often.

Perhaps I had forgotten the level of rejection that is inherent in the submission process. Some of the recent rejections I have received with manuscripts have chosen one for publication from a field of 800-900. I mean, do the math. Somehow, though, even knowing that the odds are not remotely in my favor has not shielded me from questioning whether I am a publishable poet, or even a poet at all.

Meanwhile, several of my poet-friends have published or are in the process of publishing their first books. I’m very happy for them and buy and help promote their work but it makes me wonder what is wrong with me that I’m only garnering a long list of rejections. What does it say about me that, when I see publication credits for other poets, I can often mentally tick off which of their presses have rejected me?

Things are better these past few weeks. The publications of my work for an Ekphrastic Review challenge and in Wilderness House Literary Review buoyed me through the latest round of journal and manuscript rejections that the spring has brought. I’ve participated in National Poetry Month projects with the Broome County and Tioga Arts Councils. Binghamton Poetry Project has been having their spring workshops, so I’ve been working on craft and writing from their prompts, once or twice a week. I’ve even gotten several unsolicited comments from my blog posts, saying that I am a good writer, which is somehow still encouraging of my sense as a poet. Writing is writing, whatever the form.

The question is whether I can keep my re-discovered sense of my identity as a poet from being buried by the avalanche of rejections that are sure to come. When I first set a goal of publishing a book by the time I was sixty, a goal that I failed to meet, I told myself that it didn’t matter if I ever published a book. After all, it’s not that I write for a living.

It would be best if I can get back to concentrating on reaching people with my work within my community sphere. I do consider myself to be an accessible, community poet. If I can do that, then I could look at publishing in a broader context as a bonus if it happens, not as a measure of my worth as a poet.

Please remind me when I am in doubt again.

One-Liner Wednesday: new poems!

In an act of shameless self-promotion, I’m using One-Liner Wednesday to promote yesterday’s post about the five – count ’em five! – new poems of mine published by Wilderness House Literary Review this week!

Join us for Linda’s One-Liner Wednesdays! Find out more here: https://lindaghill.com/2022/04/06/one-liner-wednesday-not-to-make-light-of-a-serious-situation/

Five Poems in Wilderness House Literary Review!

I am pleased and excited to share the link to the latest quarterly issue of Wilderness House Literary Review, which features five of my poems. Many thanks to poetry editor Ravi Yelamanchili and the whole team at WHLR for including me in their spring issue. If you are reading this in Spring, 2022, you can access the current issue at the link above; scroll down to the Poetry section to find Joanne Corey in the list of poets and click, which will take you to my work. If it is beyond that, you can find the issue through the cumulative index as Volume 17.1 – Spring 2022. While you are there, browse the WHLR archive for poetry, essays, art, fiction, and book reviews going back to Spring 2006. You’re sure to find something that will fascinate and delight you!

I thought I’d use this post to give some background on the poems and submission process. As folks who have been following Top of JC’s Mind for a while know, the last few years have been challenging for me as my family navigated the difficult last years of B’s mom and my parents, as well as the joy of welcoming a new generation to our family coupled with the complications of having them live across an ocean from us with the pandemic adding another layer of stress.

Because of all that, I was sandwiching in writing in a rather haphazard way and not concentrating on submissions. When I did begin making myself do the fraught work of preparing submissions, I concentrated on sending out my chapbook and collection manuscripts rather than journal submissions. Usually, a goodly number of poems in a manuscript have already been published in journals and I knew that I needed to get individual poems published as journal publications are the backbone of sharing poetry. Knowing that I was struggling with doing journal submissions, my wise poet-friend Merrill Oliver Douglas counseled me to choose five poems that I liked and send them out to a bunch of journals without stressing over style or if the poems related to each other or any of the other things that were keeping me paralyzed. I did that in early February. I chose to submit to WHLR because they were one of the first journals to publish my work back in Fall, 2015, just as I was getting more deliberate about publishing my poetry and just before we entered into our intensive phase with elder care. I thought there might be one or two of the five that would interest them but I was shocked and amazed that they accepted all five. (Being a good poetry citizen, I immediately withdrew the poems from all other journals to which I had submitted them.)

The rest of this post will give some of the background to the poems. You can choose to read them first, using the links in the first paragraph, or read the rest of the post first and the poems afterwards. I’ll write about the poems in the order in which they appear.

Starting off with a trigger warning, especially for family and friends who may not be ready to read “We probably should have taken off”, which is about the death of my father, known here as Paco. I wrote the first draft in the middle of the night while I was at the Boiler House Poets Collective residency only a couple of weeks after Paco’s death and workshopped it there. I did revisions and workshopped it again with the Grapevine Poets in October – and then couldn’t bear to look at it again for several months. I did the final edits in order to send it out this winter because I knew from the reaction of the poets who had seen the drafts that it was a strong poem. It’s sometimes hard for me to tell objectively when something is strong if it is also close to me emotionally. I had originally written this poem by hand in a journal and tried to replicate the spacing I had used when I put it into the computer. The use of white space seemed to fit the mood of the poem and is a frequently employed device in contemporary poetry, although some online journals advise against it because it can be hard to replicate in their publishing software. My original rendition is probably even “spacier” than the published version due to being on a larger page.

“Sprague Suite” is an ekphrastic poem based on the exhibit Transition: Decade of Decision, Sprague Electric>>MASS MoCA, 1989-1999 by Christopher Gillooly, which was on display there in 2018. When I was at our Boiler House residency that year, I felt as if it was my second home. I was drawn to it because it told the history of the former industrial site which is now home to the Massachusetts Museum of Contemporary Art. I am from the North Adams area, so I also have a personal perspective on that history. The six sections of “Sprague Suite” relate to Sprague Electric, which occupied the site for several decades until 1986, manufacturing capacitors. For fun, I also played a bit with form in this poem. Sections I and VI are haiku and II and V are tanka. III and IV are my go-to, free verse. “Industrial Buddha”, the title of section V, is the name of a collage sculpture of found objects that was part of the exhibit. This poem is part of my full-length poetry collection which is currently submitted to several contests and publishers.

“In my purse” began as a Binghamton Poetry Project prompt in fall of 2020. We were studying list poems and the power of juxtaposition. I’m a fan of list poems and had written several previously. When we write from prompts, we only have about ten minutes to draft, so the poems tend to be relatively short. There is also so little time to plan or ponder that words often fall onto the page in unexpected ways, which is perfect for a list poem where juxtaposition is everything. Thinking this quickly-generated draft had potential, I decided to workshop it with Grapevine and revise it to send out to journals. I’m so happy it has found a home at Wilderness House Literary Review!

“Zoom Wedding – October 4, 2020” also began as a Binghamton Poetry Project prompt in summer 2020. We were to begin a poem with a line from Ocean Vuong’s searing “Aubade with Burning City” about the final evacuation from Saigon in 1975. We were, however, to take our poem in a different direction. I chose the line, “He fills a teacup with champagne, brings it to her lips.” Given that we were then in the early months of the pandemic with public health rules making large gatherings impossible, I recast the line to open the story of a couple forced to cancel a long-planned June wedding and instead hold it in October via Zoom, which, for future readers who might see this after Zoom has been merged, renamed, or supplanted by newer technologies, is a video conferencing platform that gained ascendency when everything from business meetings to church services to family gatherings had to be cancelled or held virtually instead of in person. I began the draft during our BPP session and finished it the next day. I workshopped it with the Grapevine Poets, but then set it aside. I made some revisions in order to send it out this winter. I wasn’t sure if it would appeal to anyone as most people are trying to move beyond the pandemic, even though it hasn’t ended. Thankfully, with vaccines and treatments available, in-person gatherings are much safer in 2022 than they were in 2020.

“Monroe Bridge Mail” was drafted in May 2021 as I prepared to go on a private writing retreat back to North Adams to finish the manuscript which I referenced in the “Sprague Suite” section above. While I went to high school in North Adams, my actual hometown is Monroe Bridge, then home to about two hundred people, about twenty miles distant. I wanted to have some more Monroe Bridge poems in the collection, so I wrote this about our post office. I chose to employ a more conversational, storyteller mode, with long sentences and asides. It is a lot of fun to read aloud, which I had the opportunity to do at the Vestal Museum last summer.

Whew! Long post. If you have made it this far, thank you and congratulations! Please feel free to comment below. I love to know what people are thinking about my poems and/or posts.

Ukrainian Ekphrastic Writing Challenge

The Ekphrastic Review‘s editor, Lorette C. Luzajic, chose Carousel, a 1906 painting by Ukrainian artist Olexandr Murashko, as a prompt for a recent Ekphrastic Writing Challenge. I am honored that my poem In Kyiv is among those chosen for publication. It is the third response listed. I encourage you to read all the responses, as well as Lorette’s poignant opening note. As always, comments are welcome.

Nebra Sky Disk

I sometimes write poems in response to the Ekphrastic Challenge prompts from The Ekphrastic Review. I have been honored to have my poems chosen for publication on a few occasions and have taken to publishing the ones that were not chosen here at Top of JC’s Mind.

Just up today are responses to the Nebra Sky Disk, including one by my friend and fellow Boiler House Poets Collective member, Kyle Laws. You can see the artwork and the chosen responses here. My poem follows. As always, comments are welcome.

Nebra Sky Disk

Who buried you,
hid you from the sun,
the moon,

the stars,
as if the earth
could dim your essence?

Did they seek
with soil and swords and hatchets
to protect you from marauders

who might take you away,
where your arcs would not
be wedded to the sun?

They could not know
the buried centuries,
the indignity

of damage by looters,
of clandestine sales,
your glory hoarded.

Finally brought back to light,
to the descendents of your people,
your gold shining their place beneath

the sun,
the moon,
the stars,

the burnished sky.

SoCS: filling a page

Writers often commiserate over being faced with a blank page and not being able to think of something to write on it.

Or maybe now-a-days a blank screen?

I don’t usually run into that problem, most likely because my brain almost never shuts off. There are actually reasons for this that I will go into when I’m not writing stream of consciousness….

Of course, just because I can always fill a page with thoughts doesn’t mean that the writing is worth sharing.

My natural mode when writing poetry, though, is to slosh things around in my head for days/weeks before writing them down. It’s good, though, that through the Binghamton Poetry Project, Heather Dorn, and Sappho’s Circle, I learned to write poetry quickly from prompts.

It usually works like this: The leader of the workshop gives a few choices for prompts to get you started on a poem and there is a time limit, which can be as short as ten minutes, in which to write. This plays to one of my strengths, which is writing relatively short poems, but definitely challenges me in that there isn’t time to ruminate. You really only have about a minute to decide which prompt you want to respond to and the direction you want to take before starting to draft your poem on the page.

Through practice over the last several years, I’ve gotten pretty decent at writing a poem quickly from a prompt. Obviously, there needs to be revision time later but a number of poems that were in response to prompts have made their way into my manuscripts.

Now, if I could just get one of my manuscripts published…
*****
Linda’s prompt for Stream of Consciousness Saturday this week is “page.” Join us! Find out more here: https://lindaghill.com/2022/02/04/the-friday-reminder-and-prompt-for-socs-feb-5-2022/

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