March 2nd, 2010

Wordle-ing My Manuscripts

I’ve noticed some poet friends Wordle-ing (is that a verb?) their poetry manuscripts.  I couldn’t resist.  After I finished my first manuscript some years ago I made a list of words I felt I overused in it and then forbid myself from using them in the next manuscript.  If only I had had Worldle!

Anyway, I’m not going to bother with Pear Slip as I think we all know what the most common word is there.  But here we go for the other manuscripts.

This is the word cloud for The Erotic Postulate:

The Erotic Postulate

Now it omits “common” words which thankfully takes out “the” and “a” and whatnot, but that also takes out “no” and “not” which I’m quite fond of.  So I took a look at the word count breakdown and found these numbers: “not” comes in at 65 times with “no” at 42.  As for my popular words: they don’t show “I” and “you” but “I” 168 times and “you” 115 times with “we” at 61.  ”One” is there 87 times with “two” 77 times. “Like” is there 71 times.  Other favorites: “Light” 44 times; “line” or “lines” 57 times; “body” or “bodies” 45 times.  And all those colors: “white” 41 times; “red” 34 times; “blue” 27 times; “black” 23 times; and so forth.  ”Love” 21 times…

Let’s move on.  Here is the word cloud for Skin Shift:

Skin Shift

I really love that word “one” – 65 times here.  ”Two” drops off to 28.  Naturally character names abound: “Narcissus” from the “Narcissus Resists” sequence; “David” and “Rut” from the “Platos de Sal” sequence.  ”Not” is here 88 times with “no” at 49.  ”Skin” is really important in this manuscript.  And again, colors, the body.  We poets have our word hordes!

I’m going to hold off on Impossible Gotham since I’m still composing poems for it.  And I think I’ll hold off on Smite & Spoon for now too.  There’s plenty here to digest!

March 1st, 2010

Some Musings About Influence

I finished Homer’s Iliad (Fagles translation) last night (it’s been my subway reading since the turn of the year) and had my hairs stand on end when I read these lines by the ghost of Patroclus speaking to Achilles: “So now let a single urn, the gold two-handled urn / your noble mother gave you, hold our bones–together!” It was the first time in the poem I felt more than just a bond of friendship between these two men, but that’s not why I felt so charged.  The charge came from the echo I heard of the closing lines in “What I Preach I Preach For the Sake of What We Excavate” (forthcoming in Knockout #3).  That poem takes a cue from John Donne’s “The Relic,” but now here I find it is also in conversation with this passage from The Iliad, a passage I wasn’t even aware of when I composed it.  “What I Preach…” has a new layer now when I read it, as it touches the ghosts of Donne, of Homer, Patroclus and Achilles.

February 11th, 2010

Fourth Portrait by Didi

Didi Menendez has painted my likeness a fourth time.

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Here’s a cool progress strip of how the painting progressed:

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You can view more of Didi’s work here.

January 31st, 2010

Review of OCHO #29

Grady Harp, an Amazon Top 10 Reviewer, has weighed in on OCHO #29:

OCHO #29 continues to present fresh poetry by both well-established poets and those on the threshold of fame – due to the unflagging commitment by publisher Didi Menendez and crew. This particular issue, adorned on the cover with some fascinating graphic art by poet/artist John Korn, has a fine selection of works by such favorites and Korn, Nicole Mauro, Melissa McEwen (whose ‘Honey Babe’ is particularly fine!), Michelle McEwen, and the poet Matthew Hittinger who seems to be in important ascendency with every new chapbook and publication where his enigmatic, beautifully crafted poems are found.

Click to read more!

January 24th, 2010

Five Poems in OCHO #29

I have five poems in the new OCHO #29: “Arachnophobia,” “Bamboo Tattoo,” “Done Gone and Riled Kingston Up Again,” and “The Astronomer on Misnomers” which are all part of the Skin Shift manuscript; and “Nulla Dies Sine Linea” and “Homography” which are part of The Erotic Postulate.

You can order a print copy directly from Createspace or Amazon, and soon from places like Barnes&Noble, Powell’s, or your favorite independent bookstore; these sites are now carrying many (and will be carrying many more) of the MiPOesias and Oranges&Sardines (Poets&Artists) issues.  And soon individual poetry collections published by GOSS183 will be on those sites too.

January 21st, 2010

Spire Press KGB Bar Reading

I’m part of the Spire Press Reading at KGB Bar this Saturday, January 23rd from 7-9pm.  Line-up includes fiction by Damian Dressick, nonfiction by Shelly Reed, and poetry by JoAnn Balingit, Christina Olson, Elizabeth Rees, and me.  If you’re free and in/close to NYC, stop by.  I’d love to see you!

January 20th, 2010

Poem in The L Magazine

My poem “8:46 AM, Five Years Later” from my Impossible Gotham manuscript is in the online poetry section of The L Magazine edited by the very talented Tommy Pico.

Speaking of Tommy, check out the blog for birdsong.

January 19th, 2010

Poetry and Truffles! A Poem in The Concher 2

If you love poetry and chocolate check out The Concher 2. You’ll find a poem of mine in there too, “Cobalt Blue.”

The truffle line up: spicy cayenne * honey pistachio * lavender vanilla * peanut butter pretzel * pomegranate white chocolate * smoky orange caramel

The poet line up: Kristin Abraham * Dan Beachy-Quick * Michelle Brown * Beth Coyote * Kirk Davis * Christopher DeWeese * Rebecca Dunham * Grace Egbert * Rae Gouirand * Matthew Henriksen * Matthew Hittinger * Alex Lemon * B.J. Love * Kristi Maxwell * Karyna McGlynn * Jennifer Metsker *Aimee Nezhukumatathil * Sean Norton * D.A. Powell & Haines Eason * Kate Schapira * Bronwen Tate * Andy Trebing * KC Trommer * Jen Tynes * Joshua Marie Wilkinson

You can order your poems and chocolate at Two Poet Truffles. Enjoy!

January 13th, 2010

Fun Article: Moves in Contemporary Poetry

I came across this fun article at HTMLGIANT cataloging the moves we contemporary poets like to make in our work.  “This Is Not About Pears” was mentioned in #36 as an example of “Definition or description by negation” which, I admit, is something I do a lot of in my work.  I guess if I had to take a stab at defining my poetics, that’s one key component: the poetics of negation, by defining what is by what isn’t.  I love the words “no” and “nor,” “never” and “not.”

January 11th, 2010

“Five On It” Interview

Head on over to birdsong to see the latest installment of “Five on It” (I’m one of the five!) from Birdsong #10 released last month.  “Five on It” is ”a continuing interview series where five established writers and artists answer the same five ‘Inside the Actors Studio’ type questions.”

Thanks again for the invite Tommy!

January 10th, 2010

More Musings About Book Awards: An Interview at ]Outside the Lines[

Christopher Hennessy picks my brain about the book award system over at ]Outside the Lines[.

Though I’m one voice in the wilderness here, perhaps what I’ve learned from my experiences will help others if you decide to go that route with your manuscripts.

December 12th, 2009

Three poems in Debut Issue of Scythe

I have three poems in the first issue of Scythe, edited by Joe and Chenelle Milford of The Joe Milford Poetry Show.

The poems are: “Red Crescent” from The Erotic Postulate; “Sitting in a WaWa Parking Lot” from Skin Shift; and “5th Avenue Stretch” from Impossible Gotham.

This first issue features poets who have read on The Joe Milford Poetry Show.  Too many great names to list all the contributors, just go check it out.  And great work editing and putting this together Joe and Chenelle!

December 9th, 2009

Some Favorite Books Read in 2009

I’m not going to do a top ten list, or limit this to books published in 2009 as I discovered a lot of wonderful work this year published since 2007.  I’m sure I’ve forgotten some books here (it’s hard to remember what you were reading back in January and February) so this is by no means meant to be comprehensive.  Just some titles that come to mind (or are still stuck in my mind).  There are also some non-poetry titles mixed in there that I enjoyed.

So in alphabetical order, here are some of the books I really enjoyed this year and that you should try to get a copy of if you can:

Idris Anderson’s Mrs. Ramsay’s Knee

Brent Armendinger’s Archipelago

Shaindel Beer’s A Brief History of Time

Mary Biddinger’s Prairie Fever

Jericho Brown’s Please

Kate Cambor’s Gilded Youth: Three Lives in France’s Belle Epoque

Andrew Demcak’s Zero Summer (and Pink Narcissus!)

Sharon Dolin’s Burn and Dodge

Jill Alexander Essbaum’s Harlot

Steve Fellner’s All Screwed Up

Suzanne Gardiner’s [lapsed insel weary]

Brent Goodman’s The Brother Swimming Beneath Me

Dana Guthrie Martin’s The Spare Room

Travis Holland’s The Archivist’s Story

Charlie Jensen’s The First Risk

Randall Mann’s Breakfast with Thom Gunn

Didi Menendez’s For the Love of an Armadillo

Pamela Johnson Parker’s A Walk Through the Memory Place

D. A. Powell’s Chronic

Laurie Sheck’s Captivity and A Monster’s Notes

Paul Siegell’s poemergency room and jambandbootleg

Patricia Smith’s Blood Dazzler

I know I’m forgetting some.  I may add more as others come to mind.

December 8th, 2009

Some Musings on My Book Contest Stats: The Chapbooks

On a bit of a whim last night I decided to calculate how much money I’ve invested with the poetry book award contests since I started sending out my manuscripts in 2004.  Bless the organizational skills I inherited from my mother, I’ve  actually kept spreadsheets with all this raw data.  At first I wasn’t sure I wanted to know the damage, but now that I have tracked all the numbers it’s actually not that bad.  I have no illusions about the business of it all, and since I do consider this an investment, not just in my future but the future of other poets and poetry presses, I thought I’d be candid and share some of this data.  This post will take a look at the breakdown for my chapbooks:

Pear Slip

I sent Pear Slip out to chapbook contests a total of seven times, from 2004 to 2006.  It was a Finalist in two of those contests (Slapering Hol and DIAGRAM/NMP) and came in fourth in the Frank O’Hara contest before winning Spire’s contest in 2006.  The only change I made to the manuscript from its original conception was the addition of the “Pear Poetics” preface, composed in 2006 and included when I sent the manuscript out that last time to Spire.  Guess it did the trick!  Total money invested in contest fees: $92.00.  Prize money from winning Spire’s contest $500.

Narcissus Resists

I sent Narcissus Resists out to a total of nine chapbook contests, from 2005 to 2007.  It was a Semi-finalist for the Frank O’Hara contest and an “Also Notable” top fiver for the Caketrain Contest before it won the 2007 Beauty/Truth contest.  Beauty/Truth subsequently disappeared with no trace in 2008, so I officially “withdrew” the mss and started sending it out again, three more places, for a total of twelve when Didi at MiPO kindly rescued it in early 2009.  As for changes to the mss, I changed up the order of the sonnets once to tighten the narrative, right before it won the Beauty/Truth contest.  Total money invested in contest fees: $129.00.  Total royalties I’ve made so far from sales via CreateSpace: $40.95.

Platos de Sal

I sent Platos de Sal to a total of four chapbook contests, from 2006 to 2008.  It was a Runner-up for the Frank O’Hara contest and a Finalist in both the Keystone and Robin Becker contests before Ron extended the offer to publish it in the Editor’s Series at Seven Kitchens.  Minor edits as we prepared the final text, but no significant changes to title or text.  One of the few poems I’ve written that is pretty much in its original state.  Total money invested in contest fees: $59.  And I have a generous number of copies I can sell directly on my own (that’s one thing I haven’t kept track of with all three chapbooks, how many copies I’ve sold directly to people; I’m sure if I really picked my brain I could probably guesstimate, but it’s not really worth it to me).

Looking at these numbers, I seem to have a pattern of debuting a new chapbook project each year and a two-year turnaround of sending it out before publication acceptance, which is reaffirming.  It also reaffirmed for me the investment was totally worth the outcome, but less because of any money I may have made or lost.  Securing homes for my work, seeing a project through from idea to finished product, and having all those hours of composition and revision and sequencing manifested in a physical object that others can then experience, hold and own and read, is something to which I can’t affix any price.  It’s nice when the thing you love to do can earn you some money, but that’s not why I write or why I choose to send my work to these contests.

One of my grad school friends recently told me she stopped publishing and worrying about publishing when she realized she didn’t want to teach and didn’t need those creds for a CV.  It made me pause because I also don’t teach and have no interest in teaching, but I’ve never connected teaching to publishing in that way.  I publish because my books are very real creatures to me that I want living out there in the world.  They are snapshots of my thoughts and concerns and obsessions, physical products of my mental processes, and like with paintings, I want to share my “way of seeing” the world with others.

I understand the fees–for processing, for paying guest judges, for publishing the winning book and sometimes the prize money for the winner, for keeping the press afloat.  I’m okay paying them.  I have the means to pay them.  Do I think the fees may be prohibitive to poets who don’t have the resources to pay?  Yes, and that worries me.  At $25 a pop on average that adds up fast.  I think I’ve become smarter over the years about what I send and to where, but it’s still an investment, and while I can pay, what about those who can’t?

There are alternatives to this contest system: publishing collectives, self-publishing, making your own or your friend’s books via letterpress or computer, lovingly hand-tying the pages together.  There’s a long tradition of poets founding presses to publish the work of their comrades.  There are others more directly involved with this tradition who could speak more eloquently about it than I, but I will confess it’s a direction I ponder more and more.  With the POD services available out there, why not find a co-conspirator and found a press and get my friends’ work out there, allowing more voices to join the conversation in print?

I have more thoughts on this which I’ll devote time to in a future post when I take a look at my full-length manuscript projects.  The numbers are much higher there, especially for The Erotic Postulate which, as it enters its seventh year in search of a good home, I’ve sent out about 83 times (that includes open reading periods without fees).  I won’t tell you how much I’ve spent on that baby (yet), but it has a good track record of placing in contests, so not all bad.  That post will also go into a little more detail about the evolution of those manuscripts, how the sequencing morphed, titles changed, etc.

November 3rd, 2009

Some Notes on Laurie Sheck’s A Monster’s Notes

Head on over to Gently Read Literature where you can check out the November reviews.  I have a piece up on Laurie Sheck’s multi-genre novel A Monster’s Notes.

October 31st, 2009

A new portrait by Didi Menendez

Didi had a poet painting marathon last weekend and did a new portrait of me:

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October 24th, 2009

Gregory Woods Reviews Ganymede Poets, One for Chroma

Gregory Woods, author of the critical study Articulate Flesh: Male Homoeroticism and Modern Poetry (a well-worn copy of which sits by my desk) has reviewed the anthology Ganymede Poets, One for Chroma: A Queer Literary and Arts Journal.

Woods highlights some of our work:

So what impresses me here, before we even begin on the content, is the quality of the verse. Christopher Gaskins, for instance, impresses me not so much for what he says as by the way he says it in lean, sinewy, unsentimental free verse. The same might be said of Matthew Hittinger’s syllabics and Jee Leong Koh’s disciplined, rhyming quatrains. And there are always individual lines to take one’s fancy: I did enjoy this sentence from R.J. Gibson’s ‘On Main Street’: ‘Like some classist / prat in a Forster novel with a boner for the help, you want a little trade’.

I love that poem of RJ’s too (can’t wait for his chapbook, Scavenge, to come out from Seven Kitchens Press in February).

Click on the excerpt above the read the entire review.

October 23rd, 2009

New Review of Platos de Sal at berniE-zine

Stumbled upon this new review of Platos de Sal in the October-November edition at berniE-zine.

Here’s a preview:

A finely-crafted story in verse that deftly explores the subtle ways in which we reveal ourselves to, or hide ourselves from, those we love.

Go check it out!

October 22nd, 2009

Montreal, Part Five

And here we are, at the end of my trip already.  Five days was too short.  I must really take longer vacations.  That Monday was Canadian Thanksgiving and American Columbus Day and my last day in Montreal.  The city felt empty, especially when Michael took me up to the roof of his building so I could get some cityscape shots.

The mountain:

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Far out in the distance there is the school where Michael teaches and commutes to each day:

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This was pretty much the view a few floors down from Michael’s balcony, of the bridge, etc.:

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That geodesic dome is in there somewhere.  I’m going to find those penguins next time I visit!

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So pretty with the leaves changing:

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Downtown:

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Tattered Quebec flag:

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We met up with Vani again and walked down to the Village to see it during the daytime.  On the way we passed this random protest parade:

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We think maybe they were street people protesting.  Definitely lots of bullhorn chatter about Capitalism and Democracy destroying our lives and planet (and protesting in English!  Very risky).  Speaking of street people, a story: as we were walking home the evening before, we passed a homeless man putting out his cardboard.  A cell phone rang.  We turned thinking the source was someone walking behind us, but no.   The homeless guy pulls out a cell phone from his pocket and answers it.

Raven display:

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This is Club Sandwich and there is evidently a train car inside.  You can dine in the train car.  Lots of post-club traffic heads here when the clubs close, especially during the warm months since there is so much terrace and outdoor seating:

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We had a yummy lunch at Kilo (I had this delicious sandwich with chicken and avocado and mango and pineapple on dark bread):

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We wandered the Village some more post-lunch and watched the gays slowly wake and venture out into the daylight (the Black & Blue Festival was going on that weekend).  Browsed some clothing and we dragged Vani into some more risque shops where we checked out cute underwear and pondered outlandish sex toys and scary instruments we three weren’t quite able to fully figure out.

And before I knew it, it was 5 o’clock and time for me to catch the shuttle to the airport.  It was a difficult good-bye for many reasons, but I won’t end on a heavy note.  Instead I leave you with this image of the good shadow of things to come:

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October 21st, 2009

Montreal, Part Four

After that very romantic evening on Mount Royal, we spent Sunday morning lazing around and enjoying the view from Michael’s apartment and balcony, eventually going out for some Indian brunch at Le Taj and then hitting up the Montreal Museum of Fine Arts.  There was this huge John William Waterhouse exhibit going on with that damn Lady of Shalott painting plastered all over the place (which only makes me think of Elizabeth Bishop’s wonderful poem “The Gentleman of Shalott”).  I’ve never cared much for the Pre-Raphaelites, so we skipped that special exhibit and just made our way through the permanent collection.  There were some lovely Pissarros and a nice representation of Modern art from the late 19th and early 20th century. Post-museum we wandered around downtown some more, visited some bookstores, and I got to visit the infamous underground city (felt very much like a mall with all the stores in the section we walked through, but I guess they are mainly tunnels wide enough to have stores on either side of the main walkway).

After a late afternoon nap (so much walking!  so much fresh fall air!) we ventured out to the Botanical gardens to see a special Chinese Lantern Display.  I will apologize in advance for the onslaught of lanterns you are about to witness.

But first, the Olympic Complex from when Montreal hosted the 1976 Summer Olympics:

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It’s a weird structure, the roof held up by all these tension wires that connect to that large concrete diving-board-esque tower which is evidently the tallest inclined structure in the world.  The building appears to be falling into disrepair.  Kind of looks like a spaceship.  Or a docking station for a spaceship.

Anyway, we passed it on our way to the Botanical Gardens where we encountered a very long line to get in to see The Magic of Lanterns.  Totally worth it even though we spent the evening dodging empty strollers pushed by the children who were supposed to be riding inside them.

Here I am posing at the entrance to the Chinese gardens and lantern display:

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Fancy roosters and hens:

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Butterfly flutterby:

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Cranes:

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Acrobatic man with umbrellas:

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I liked how her scarves and pose echoed the large rocks flanking her:

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Musicians:

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Flames!

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Michael and me and a glowy liony friend with his ball:

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Cool reflections:

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More water features with tower in background:

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Entering the bonsai pavilion:

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Trippy bonsai pavilion:

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Seahorses!  Horsies!  Er…

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Are you bored yet?  Do you feel captive as I show you my slides?  And just think ,this is the edited version.  So many more photos to show you…

Tiger…

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Waterfall…

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Fountain…

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Okay I’ll stop there.  So many lanterns!  And two romantic nights in a row.  I’m a lucky guy.  ;-)

October 19th, 2009

Montreal, Part Three

Saturday was slow going after being out so late, but we dragged ourselves out to meet up with Michael’s friend Vani who we convinced to accompany us on a long walk that eventually took us through the Old Port.

But first, some sculpture.  Here is a sculpture of a hand on Michael’s coffee table:

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Michael had many opportunities to buy more hands that weekend, but he resisted.  I still think a hand collection would be creepy and fun.  And here is Michael posing with a sculpture of a woman and a child:

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I’d still prefer a sculpture of a woman breast-feeding a child, but I don’t think anyone would find that all too scandalous there.  Here is a cow:

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And here I am reclining on the cow:

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I wanted to ride it, but restrained myself.

I love when birds poop on statues of famous important dudes:

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I’d tell you who that is, but I wasn’t really paying attention.  I was too bemused by this cat on a leash:

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If you look behind this sculpture, beyond the pool you can see a subway entrance modeled after Hector Guimard’s Art Nouveau Paris Metro entrances:

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This is outside the convention center.  The park off to the right produces mist in the warmer months via grates.  I loved the way the colors reflected off the building and into the water and onto the trees.

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We randomly came across a piece of the Berlin Wall:

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We passed a random wedding reception set-up and I liked these rows of red and orange cacti that were going to be center pieces (ignore Vani’s leg):

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Here we are down in the Old Port area where the feel of the buildings is decidedly European:

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We passed some art galleries and were struck by the work of Charest at the Blanche Galerie D’Art.  They had just ended an exhibition of his work entitled “The Fruits of His Imagination” which featured bright jewel-like colors and close-ups of some of our favorite fruits.  He even painted some on slate as if the image was part of a larger fresco or work and was broken off.  Here is a gallery of his work and an image to whet your appetite:

I also snapped a shot of this pear sculpture in the window:

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I liked the juxtaposition of the cruise ship against the weird, pueblo-like, shanty-town-esque, cardboard-box-condo-mountain:

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These trees were so red.  This picture doesn’t do them justice:

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Vani posing in front of the trees:

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The Old Market:

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Don’t jump!

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That weird geodesic dome I saw from Michael’s balcony.  The U.S. government evidently built it decades ago.  There are penguins or some mutant experiments in it:

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It is always noon.  Or midnight.

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Late afternoon sun:

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And swings!  Weeeee!

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On our walk back up to Sherbrooke we passed this crazy store that kind of looked like a thrift store but it had this strange window display.  Yes, those are used tampons.  And yes, that is pubic hair, presumably shorn from the corresponding woman.  So random.

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After a quick nap we met Michael’s friend David for dinner on the other side of the mountain.  I forgot my camera, so I don’t have any pics from the rest of the evening.  But after dinner, we hiked up the side of the mountain, passing many a lovely house and embassy and mansion until Michael led me up a flight of stone stairs into a black field which let up further onto a dark spooky road.  I felt like the headless horseman would come riding down the path at any minute.  Here we walked in the darkness, under the silent, chameleon leaves, the city lights down and to our right.  Michael explained how safety isn’t a top priority in Montreal, even though the city, in terms of crime, is very safe.  Many people run up here, even in the dark, the attitude being if you’re afraid, don’t do it.  Michael conjured a picture of what it would look like in winter with the leaves down, snow on the ground, the city lights and moon light reflecting and I could imagine how bright it would be.  We eventually found a long and winding staircase (and other people!) and began our ascent to the Kondiaronk Belvedere and the Chalet du Mont Royal. As I said, I didn’t have my camera, but I found this image of what the view looked like:

I can’t wait to see it in winter.

October 19th, 2009

Montreal, Part Two

Friday I woke to rain and the news that Obama had won the Nobel Peace Prize.  Don’t get me wrong, I like Obama, and I understand why they gave it to him not for what he’s accomplished (other than not being Bush) but for what he wants to accomplish.  Still, it struck me as a bit odd, especially when so many unknown people do so much on a daily basis to help others and are never acknowledged.  But that’s the funny thing: most of those people wouldn’t want the recognition, would shy away from that kind of attention.  It became a bit of a theme for the weekend as we discussed the nature of awards.  I was kind of hoping Obama would decline it.  It was interesting to be out of the country when such news hit, to see your home filtered through another country’s lens.

Despite the rain, I walked most of Boulevard Saint-Laurent, enjoying the French signs and the feel of another city,

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checking out all the fancy restaurants and bars along the way (where evidently Hollywood types hang) though I kept taking detours down side streets when architecture or parks or pedestrian zones caught my eye.  Here are some of the things I saw:

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The colors are a but muted here, but I loved the bright touches to the architectural features:

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And I passed many rows of homes like this, that were all built in the same style but differentiated by color:

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I stumbled upon a park at the end of Rue Prince-Arthur E, Sq St-Louis I think, and found some lovely homes bordering it.  The bright vermilion of this house struck me (and if you look to the right, that trailer was the first of four or five labeled with things like “costumes” and “make-up”–must have been shooting a movie):

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I loved the flare of red leaves behind the fountain at the park’s center:

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Some more houses that I covet.  Lots of bikes in Montreal too.  I passed many a rack where you could rent one:

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Another side street distraction, this time on Rue Rachel E:

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An educational center about marijuana.  I liked the sign.  It’s evidently legal to buy paraphernalia, but not to smoke it:

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I wandered up toward the mountain and the beautiful colors of the trees changing and found this cute little corner at Avenue Bloomfield and Avenue Fairmount Quest:

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I have a thing for roosters, so I started collecting images of them (there were more than just these guys at this store front; each window had a pair hanging out, but I started getting curious glances, so I moved on…)

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Another.  They kind of remind me of the Pennsylvania Dutch style barn hexes from back home where I grew up (ignore the random woman; I don’t know who she is):

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Le Coq:

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I saw more throughout the weekend but refrained from capturing every one.  I have a poem in the shape of a rooster.  Perhaps it will get published one day and I can post it here for all of you to see.  It’s called “Dear Chanticleer,” and yes, it is literally in the shape of a rooster.  I kid you not.

I walked all the way up Boulevard Saint-Laurent almost to Little Italy and then worked my way back, winding up at this cute little cafe Cafe-Bistro Bresilien at 8, Rue Rachel Est.  There I met a waitress who has only been in Montreal for 7 months and is still working on her French; she was much more confident in English and grateful I spoke it.  And I met a fiction writer from Brooklyn, Victoria Cho.  I spent most of the rest of my afternoon here, eating and chatting and drinking tea, reading the one lone English paper to see what events were going on that weekend.  I gave Victoria advice about MFA programs and we talked shop for a bit.  A great way to spend a rainy afternoon.  And I had some creative breakthroughs; lots of ideas percolating right now, connections forging in my head.  Filled the first few pages of the new notebook I brought along and am ready to undertake some new poem sequences.

I wandered a bit more and then took a brief nap before meeting up with Michael.  We ventured down into the very hot subway and made our way to his friend Anne-Marie’s cafe Bistro Toi & Moi.  Anne-Marie teaches Spanish at the school where Michael teaches, a language she learned from a former lover.  She is also a five star chef and sold her restaurant but now has this cute cafe where her kitchen is literally a kitchen you’d find in your home, no industrial stove, etc.  The food and wine were delicious and we were in good company with Michael’s friends Joanna, who also teaches with him, and her friend Val.  That’s Joanna in front followed by Val and I think that’s Anne-Marie behind the counter in the back (my eyesight! squinty):

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I liked these birds on the wall (I think that’s Michael’s head down on the lower right!):

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After dinner Michael took me to one of Montreal’s gay clubs in their Village, Sky, where we danced til 3 in the morning.  It was a little crowded in some of the rooms but I fought through my crowd panic and claustrophobia to get down to some fun Madonna mixes and a nice career-spanning mash-up of Whitney’s biggest hits.  The hip-hop room unfortunately had a weird vibe to it, but we eventually made ourselves at home on the third floor where we had plenty of room to cut loose.  And cut loose we did…

Next post: random sculptures, The Old Port, more great meals, Parc Mont-Royal.

October 14th, 2009

Montreal, Part One

I arrived at Penn Station early.  My travel anxiety seems to grow ever more intense the older I get, which continues to baffle me. Once I’m in motion, I’m fine, but that irrational fear of missing a bus or a train or a plane throws my stomach into chaos.  The one thing that seems to calm me is Dramamine which either knocks me out in minutes or makes me float along in a haze.  Too soon for that.

I found a ticket kiosk and scanned my print-out to pick up my tickets.  No reservation.  I used my credit card to check in.  No reservation.  Stomach in knots, I got in line.  I had waited too long for a real vacation and was not getting left behind in New York.  When I reached the front of the line and the bell dinged for me to go, the man behind me said “Go ahead brother” as if he were allowing me to go ahead of him.  I say “behind” when really he hovered just off to the side of me the entire time, as if recognizing the line were somehow beneath him.  This is not the first time I’ve noticed this, though.  The concept of a single file line seems to be difficult for certain people in NYC.  I’ve often wondered if it’s some sort of middle finger to the man.  I just find it poor manners.

The sales rep disappeared for a good fifteen minutes before she returned and said they straightened things out.  “What was wrong?”  “Your ticket was already marked as picked up.”  I spent the rest of the train ride afraid I’d run into my doppelgänger.

When I checked in with Canadian Customs I overheard them discussing our gate which had yet to show on the board.  They whispered to us that we’d be at Gate 7, so I thanked the delay with my tickets in allowing me the perfect timing to be third in line at the gate.  We waited.  A woman approached the gate official asking for help with her train.  “You need to check the board.”  The woman left.  Returned and asked again.  “M’am you have to check the board.”  “Why can’t you just tell me?!” the woman whined, stamping her stilletoed heel and bursting into tears.  “M’am I can’t see the board from here.” The nearby police officer’s rotweiler starting barking at her.  “Lady, are you going to stand there and cry and miss your train, or are you going to check the board?” he asked, trying to calm down his dog.  “Where are you going?  You need to go to Gate 12.”  The dog barking the entire time.

I popped that Dramamine as soon as we got on the train and passed out for a few hours.  But when I woke, and after a snack from the snack car, I found fall outside my window:

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All this work I brought with me, books and comic books to read, a movie to watch, and I just sat transfixed:

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I already felt the tension of recent weeks releasing as the bright yellows and oranges and reds played against the blue sky.

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Somewhere around Albany they opened the “Great Dome” car, a special edition during the fall foliage season so passengers can get a better view of the colorful landscape.

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I hung out in the dome car during part of the 50-mile trek along Lake Champlain.

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The route goes up the Hudson Valley through wine country and through the Adirondack Mountains.  I think many of my dome car photos are from the Ticonderoga vicinity.

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It’s a long train ride (almost 11 hours!) but I didn’t notice it.  Since I slept for those first few hours and had ample leg room and a reclining seat, I was quite comfortable.  The longest hold up was at the border as Customs officials made their way through the train.  There was an old Indian man in a heavy long coat and a scarf wrapped around his head who got up to get something from his luggage and the Customs guy said “M’am, please return to your seat.”  They gave him a hard time for a while.  And the Goth gay kid next to him who spent too much money on clothes in the States and had to pay taxes in the office off the train.  Though I kind of loved the old Indian guy and the Goth gay kid by the end of the trip as they sat huddled over a laptop watching clips of Bollywood dance sequences.  The longest hang-up was a couple from Staten Island on the other side of the aisle who had issues with their passports.  I suspect they were either expired, or in that few month period before they expire when Americans are not allowed to travel.  “What would you do if we told you you had to exit the train with us and we’d put you on a car back to New York?” the one official asked.  The husband bristled and got all indignant.  The wife hissed at him that he was causing a scene in front of all these strangers.  They eventually left and we moved on without them, and it significantly distracted the Customs official who checked my passport, much to my relief.  I always get so nervous with Customs officials, nervous that they’ll see I’m nervous and suspect me of being guilty of something even though I haven’t done anything.

My friend Michael Ernest Sweet met me at the airport and we cabbed back to my hotel, the Armor Manoir Sherbrooke, which was right across the street from his apartment.

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A nice man with no left hand checked me in and I deposited my luggage in my room.  The hotel is two old mansions stitched together, and my hallway was long and tall and narrow, all wood-paneling.  The whole place felt like something out of a movie set.

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I particularly loved this crazy corner closet with three hangers inside.

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Michael and I had a light dinner at his place, caught up on the past few months, and plotted out my adventures for the next day before I turned in for the night.

Coming up…Saint Laurent and the Plateau, Toi & Moi, Clubbing.

October 3rd, 2009

Project Verse Finale

Back in August I agreed to fill in for Project Verse weekly judge Dana Guthrie Martin to help judge the final round.  The judges–Dustin Brookshire, Beth Gylys, me and the two guest judges, Denise Duhamel and Shaindel Beers–evaluated the work of the finalists, Kathi Morrison-Taylor and Emily Van Duyne, and we now have a winner.

Click on their names to read their work and our comments, and then click on over to Dustin’s site to read the announcement of the winner.

Thanks Dustin for allowing me to be a part of this fun project, and thank you contestants for producing such fine work this season!

October 2nd, 2009

Read Write Poem Celebrity Poet

I’ve provided the “Celebrity Poet” prompt for the month of October over at Read Write Poem.  It’s called “The Poetics of the Mash-Up” and uses two of my unpublished poems “Skin Game” and “The Alchemists Dissolve and Coagulate” to illustrate the concept.

Go check it out!

September 23rd, 2009

Some Notes On Charlie Jensen’s The First Risk

I’ve read some great new books in recent weeks and wanted to highlight some of them.  This post is dedicated to Charlie Jenson’s first full-length collection, The First Risk:

Front Cover of The First Risk

The first thing that struck me about the collection is how unified it is, both within each sequence and across each sequence.  The thematic arcs have a lot to do with this, the most obvious perhaps grief, being the survivor, the one left behind after a loved one dies.  We get an exploration of grief from four very different and compelling angles: “Safe,” the first section, deploys a triple narrative technique weaving the story and details of Matthew Shephard’s murder in with the speaker’s own personal coming-of-age story (the “what-was-I-doing-when…” that October and since) and then placing those two narratives next to Luca Cambiaso’s paintings of Venus and Adonis. The second section “City of the Sad Divas” explores one of my all-time favorite films, Pedro Almodóvar’s All About My Mother where the lost figure is that of Esteban, Manuela’s son. The third section “The Double Blind: A Critical Text” explores yet another of my favorite films, Alfred Hitchcock’s Vertigo, where the lost figure is Madeleine Elster. And the fourth section presents Charlie’s chapbook The Strange Case of Maribel Dixon, where the lost figure is Maribel.  

I feel like I could write a long essay if I let myself, analyizing each section of the book, but I’ll simply start at the beginning in an effort to convince you to go buy it and read it for yourself.  The book opens with the poem “It Was October” which I remember reading and loving in OCHO #22, and you’ll find the intertwined narrative at play, the speaker entering a bar and taken home by a stranger with the refrain “I was love” building to the undercut: “What did I know of love that year, / shuddering in my nervous skin.  Miles away, the boy was lashed to a fence and shivering.”  Speaker is connected to Matthew through the sonic echo of “shuddering” and “shivering,” though for the speaker his shuddering is perhaps more the little death of sexual experience.  The parallel reminds many of us that Matthew could have been me had a trip to a bar and one night stand with a stranger gone differently. And in those moments the speaker was love, thought he knew love, he returns to that question in the final couplet: when faced with the knowledge and details of Matthew’s death “What did I know of love then” and then in a masterful line break that revises that question and admission to a statement that shows what the speaker has learned: “but that it wasn’t enough.”

That poem is then followed by the first Venus and Adonis poem “Venus Arrives at the Body of Adonis,” offering a counterpoint that asks us to hold the Matthew Shepherd image while we flicker into this detail from a painting, of a lover discovering her beloved’s broken body.  The horror of Matthew’s death hits us all the more on the next page when we switch back to his story in the poem “In Laramie” which opens “The body is / taken from the roadside strap.”  And the speaker, much like Venus attends to Adonis in the previous poem “She leans near his lips / to capture his last breath–”, takes Matthew’s body “I lay him / across my lap. // I stroke / his blook-soaked hair with my cold hand.”

I could clearly go on analyzing the rest of this sequence (definitely spend time with “I Am the Boy Who Is Tied Down” and “Safe”) but just want to say that the alternating between the two tales helps break up the difficult and harrowing details of Matthew’s death while casting a hook into history and myth, the poem almost an act of setting him among the constellations the way characters and heroes of old were when they passed into those magical transformations.  Unfortunately here the immortal transformation will haunt us like Venus is haunted, for even as she is forced to face that love “makes a mortal of her” we are forced to face in those final lines of “Safe” that “Now the event is inside us, / rank and sour.  We carry its sadness like a gene.” A gene to be passed down through future generations, which is in itself a kind of immortality, a grief that will live on as in myth.

I’d love to go through the other sequences (and perhaps I will in a later post) but for now I just want to say The Strange Case of Maribel Dixon excited me even more when read in the context of the three preceding sequences. The imagination at play in The Strange Case… still wows me, from the made-up (and very convincing!) source material to its very mode: a fragmented narrative at once poetic and investigative in its shredded and burnt documents, diary entries and interview transcripts.  My own fantasies about turning into “non-corporeal energy” aside, I can’t imagine someone not recalling their own lost loves when they read Edward’s longing for the lost Maribel; those intense lyric moments in his diary entries are deftly juxtaposed with the more reportorial narrator whose voice begins each of the four sections, telling and framing the tale.

I leave you with some of my favorite lines from …Maribel Dixon:

“…there is sound and the corona of sound, the fire
that seals around it and glows.”

“To have love and lose it is our only failure; to
have love and destroy it, our only crime.”

You should also check out Jeffrey Berg’s great interview with Charlie too.  Happy reading!

September 16th, 2009

Pushcart Nomination

Justin Evans at Hobble Creek Review has nominated my poem “In the Shadow City…” for a Pushcart Prize.

Thanks Justin!

September 10th, 2009

New Review of Platos de Sal by Timothy Wright

Timothy Wright has reviewed Platos de Sal over at his blog.

Here’s a preview:

Hittinger’s beautifully clear style of writing suits the way in which the story of David/Juan and Mara/Rut unfolds in a bright but uncertain present full of longing, interspersed with the unclouded memories of the long-ago and more recent past.

Platos de Sal is a beautiful piece. It was a pleasure to read over and again, each time Hittinger’s writing revealing more subtleties, more depth.

Click here to read the whole thing.  Thanks for the careful reading Timothy!

September 7th, 2009

A New Portrait by Didi

Didi Menendez has finished a new portrait of me:

oil and acrylic on museum wrap canvas 30 by 40 inches

oil and acrylic on museum wrap canvas 30 by 40 inches

Thanks Didi!

And here’s a video she made:

September 6th, 2009

Aftermath

I had the opportunity and pleasure to see a new show Friday night at the New York Theatre Workshop. It’s called Aftermath and is written by Jessica Blank and Eric Jensen who took interviews they conducted in June 2008 with Iraqi refugees in Jordan and crafted them into a show that interweaves the stories of average Iraqi citizens before, during and after the US invasion in March 2003.

Everyone should see this show. I fear few will muster the courage given the heavy subject matter and the fact that it will remind us that we as Americans are all guilty through our complicity in what happened. And continue to be guilty in our aversion to wanting to face and really know what happened. Thankfully there is humor early on in the show, necessary for the dark turn all the tales take, but to hear firsthand accounts of the lives lost and destroyed by our unlawful invasion only highlights the troubling truth about our government’s meddling in other nations to which most average American citizens turn a blind eye.

War situations unfortunately strip the “enemy” of their identity and humanity and these characters return us to the complex, three-dimensional lives of the people “over there.” The characters are all compelling and the acting superb. You hear from Muslim and Christian Iraqis, a suave dermatologist and a pharmacist, an Imam and two couples all held together by a translator. The monologues are tight, the actors tapping into a range of sometimes difficult emotion and outrage to bring these people to life that must exhaust them by the end of each performance. I loved the choice early on to overlap the translator and character he was translating for, hearing his English translation beneath their story and then his voice fades to allow the character he is translating for to speak for him- or herself as that character switches to English, creating the illusion that we are hearing them in their own language. But even the translator does not go unscathed as some of the characters highlight how translators are at times part of the problem, not translating accurately or telling the Americans what they think they want to hear.

The set is bare bones and rightfully so as anything more elaborate would take away and distract from the power of the stories, so all you will find is just a number of different chairs set-up on the stage with benches in the back for the characters to sit on when they are not up in a chair telling their story. The lighting is also subtle with gradual changes and spotlights on the characters when they speak.

There’s so much to say about the show and the audience reactions to facing these stories. You will be made uncomfortable, but in all the necessary and right ways.

Here’s a short video about the production: