It has been such a pleasure to guest-blog here at BAP and I’m a little sad to be hanging up my spurs when I hit “publish” on this entry. This last post is a bit more scattered than my previous ones--it’s a round up of poetry-related (or kissing cousins to poetry) projects I wanted to share with you.
First, I want to mention that our reading period is open at Augury Books. Do you have a poetry manuscript, a short story collection, or a nonfiction book (full-length or a collection of shorter pieces) that is looking for a home? Send it to us please--we’re really excited to read new work. Secondly (I’m going to keep everything connected to organizations that I represent here in this one paragraph), The Mayapple Center for Arts and Humanities, a nonprofit center located in Stamford, Connecticut, is offering two half-scholarships this summer for Vijay Seshadri’s (this year’s winner of the Pulitzer Prize in poetry for his book 3 Sections) workshop. The class is called Transitions and Transfigurations and runs from August 18th through August 22nd on Mayapple’s campus. If you want to study with an amazing teacher somewhere beautiful this summer, you should send an email inquiry to email@example.com with your CV and writing sample by June 30th.
Are you familiar with cellpoems? It’s a poetry journal that sends out one weekly text message containing a beautiful short poem. It’s free to subscribe and they publish a great mix of emerging poets, as well as established names like Charles Simic and Sherman Alexie. This poem by Heather Cousins has run through my head since I first read it almost four years ago. You may also like Motionpoems, a nonprofit production company that makes short film adaptions of contemporary poems. I can’t get over how gorgeous their movie-poems are--watching each one is like being able to step into a snippet of someone else’s dream.
Girls in Trouble is another project that I love, although related to poetry more tangentially than directly; it’s an art-rock band helmed by poet Alicia Jo Rabins. Girls in Trouble’s music tells the stories of women in the Torah through songs that fuse American folk, indie rock, strings (violin and cello!), and gorgeous verse. Also, this is my new favorite tumblr--it isn’t poetry-specific, but poets (and everyone) should contribute. Cristina Henriquez’s newest novel, The Book of Unknown Americans, tells the story of immigrants whose voices aren’t often heard. She created a tumblr to accompany it that asks people to share their own and their families’ experiences moving to the United States. I’ve loved reading the stories that are posted and I hope some of you will want to add yours.
Finally, I want to leave you with a poem:
A Book of Music
Coming at an end, the lovers
Are exhausted like two swimmers. Where
Did it end? There is no telling. No love is
Like an ocean with the dizzy procession of the waves’ boundaries
From which two can emerge exhausted, nor long goodbye
Coming at an end. Rather, I would say, like a length
Of coiled rope
Which does not disguise in the final twists of its lengths
But, you will say, we loved
And some parts of us loved
And the rest of us will remain
Two persons. Yes,
Poetry ends like a rope.
There are many things to love Jack Spicer for, ranging from the Vancouver lectures where he described the poet as a radio receiving “transmissions” from the “invisible world” (“The poet is a radio. The poet is a liar. The poet is a counterpunching radio.” Sporting Life) to his apocryphal last words as he died at age forty in the poverty ward at San Francisco General Hospital (“my vocabulary did this to me”), but this poem is one of the things I love best. There is so much beauty inside the darkness here--we have come to the end of things, the lovers are exhausted, and yet the title reminds us this is “A Book of Music.” I also love the plaintiveness of the you saying, “But...we loved” and how it leads into the ambiguity of the three lines below: is the “you” still speaking or can we potentially read the “And some parts of us loved / And the rest of us will remain / Two persons” as the speaker briefly agreeing, acknowledging that there was love (“some parts of us loved”) there, but then asserting separation again. What moves me the most about the poem every time I read it is that sudden shift at the end from love into poetry, the implied conflation of these two things: how the last line (and the “Yes” above it) are simultaneously devastating--the rope and its gallows-connotations, that the rope ends--and yet also somehow strangely uplifting. Despite the actual stated meaning of that bleak last line, the word “rope” also includes within it a subliminal rhyme with “hope,’ as well as connotations of rescue, of salvation.
Thank you for listening to me this week.