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Wednesday, 2 September 2015

From “The Ghosts of Barnacullia”

By Paul Perry
October and the rain is warm
the light moving across the water’s surface

is there and not there
like a voice you remember

say your mother’s
youthful as once she was

on a day like this
embracing the sunshine breaking through

or watching it trace
between her fingertips so real

you can almost believe again in the silence
between you, her breath on your cheek

while you lay ill in bed
and in only a moment

a bell is ringing or your father
is singing in the kitchen about strangers

and without even an echo or the echo
of an echo all of this is gone and

we’re walking again to the Hellfire Club
or the Sugar Loaf, it’s Sunday

there’s not much traffic, and on the hills
as you run twigs, and small black pellets

are vanishing beneath your feet
Source: Poetry (September 2015)

Monday, 24 August 2015

An October Evening

Campbell, William Wilfred (1858 - 1918)

The woods are haggard and lonely,
   The skies are hooded for snow,
The moon is cold in Heaven,
     And the grasses are sere below. 
The bearded swamps are breathing
   A mist from meres afar,

Sunday, 23 August 2015

Where Are You, God? || Spoken Word

Who Am I - Spoken Word

Tom Howard/Margaret Reid Poetry Contest

Welcome to the 13th annual Tom Howard/Margaret Reid Poetry Contest. Submit published or unpublished work. $4,000 in prizes.



Contest Opens: Apr 15, 2015
Deadline: Sep 30, 2015
Results Announced: Apr 15, 2016
Theme: All themes accepted
Length Limit: 250 lines maximum per poem
Entry Fee: $10 per poem. Please submit poems one at a time.
Prefer to pay via PayPal?
Prizes:
  • TOM HOWARD PRIZE: $1,500 for a poem in any style or genre
  • MARGARET REID PRIZE: $1,500 for a poem that rhymes or has a traditional style
  • Honorable Mentions: 10 awards of $100 each (any style)
  • Top 12 entries published online
Additional Guidelines
Judge
Tom Howard/Margaret Reid Poetry Contest

Thursday, 20 August 2015

I Remember – Poetry Workshop SOLD OUT

Sunday 23 August 2015, 10:30 am2:30 pm

In this half-day workshop at the Freud Museum led by Kathryn Maris, you will look at sections of I Remember, a cult classic poem-memoir by New York School artist and writer Joe Brainard, who died in 1994. Using Brainard’s quirky patchwork of memories for inspiration, you will be encouraged to access hidden or unexpected memories of your own, which you will then develop into poems using poetic models by Louis MacNeice, Lyn Hejinian, and other poets who write transformatively about memory. Selected participants in this workshop may be invited to read their poems at the Psychoanalytic Poetry Festival at the Freud Museum on 19 September, 2015. 
Kathryn Maris’s most recent poetry collection is God Loves You (Seren 2013). Her poems have appeared in Granta, Poetry London, The Poetry Review, The Pushcart Prize Anthology and Best British Poetry 2012 and 2015. She teaches at the Poetry School.
Workshop participants will be able to book for the Psychoanalytic Poetry Festival at a special discounted price (£5 reduction).
£35/£25 students/concessions/members of The Poetry Society or Freud Museum. Tickets are now sold out, but the Freud Museum is operating a waiting list.

Event website:

http://www.freud.org.uk/events/76009/i-remember/

Boys

by Anton Chekhov


"VOLODYA'S come!" someone shouted in the yard.
"Master Volodya's here!" bawled Natalya the cook, running into the dining-room. "Oh, my goodness!"
The whole Korolyov family, who had been expecting their Volodya from hour to hour, rushed to the windows. At the front door stood a wide sledge, with three white horses in a cloud of steam. The sledge was empty, for Volodya was already in the hall, untying his hood with red and chilly fingers. His school overcoat, his cap, his snowboots, and the hair on his temples were all white with frost, and his whole figure from head to foot diffused such a pleasant, fresh smell of the snow that the very sight of him made one want to shiver and say "brrr!"
His mother and aunt ran to kiss and hug him. Natalya plumped down at his feet and began pulling off his snowboots, his sisters shrieked with delight, the doors creaked and banged, and Volodya's father, in his waistcoat and shirt-sleeves, ran out into the hall with scissors in his hand, and cried out in alarm:
"We were expecting you all yesterday? Did you come all right? Had a good journey? Mercy on us! you might let him say 'how do you do' to his father! I am his father after all!"
"Bow-wow!" barked the huge black dog, Milord, in a deep bass, tapping with his tail on the walls and furniture.
For two minutes there was nothing but a general hubbub of joy. After the first outburst of delight was over the Korolyovs noticed that there was, besides their Volodya, another small person in the hall, wrapped up in scarves and shawls and white with frost. He was standing perfectly still in a corner, in the shadow of a big fox-lined overcoat.
"Volodya darling, who is it?" asked his mother, in a whisper.
"Oh!" cried Volodya." This is -- let me introduce my friend Lentilov, a schoolfellow in the second class. . . . I have brought him to stay with us."
"Delighted to hear it! You are very welcome," the father said cordially. "Excuse me, I've been at work without my coat. . . . Please come in! Natalya, help Mr. Lentilov off with his things. Mercy on us, do turn that dog out! He is unendurable!"
A few minutes later, Volodya and his friend Lentilov, somewhat dazed by their noisy welcome, and still red from the outside cold, were sitting down to tea. The winter sun, making its way through the snow and the frozen tracery on the window-panes, gleamed on the samovar, and plunged its pure rays in the tea-basin. The room was warm, and the boys felt as though the warmth and the frost were struggling together with a tingling sensation in their bodies.
"Well, Christmas will soon be here," the father said in a pleasant sing-song voice, rolling a cigarette of dark reddish tobacco. "It doesn't seem long since the summer, when mamma was crying at your going . . . and here you are back again. . . . Time flies, my boy. Before you have time to cry out, old age is upon you. Mr. Lentilov, take some more, please help yourself! We don't stand on ceremony!"
Volodya's three sisters, Katya, Sonya, and Masha (the eldest was eleven), sat at the table and never took their eyes off the newcomer.
Lentilov was of the same height and age as Volodya, but not as round-faced and fair-skinned. He was thin, dark, and freckled; his hair stood up like a brush, his eyes were small, and his lips were thick. He was, in fact, distinctly ugly, and if he had not been wearing the school uniform, he might have been taken for the son of a cook. He seemed morose, did not speak, and never once smiled. The little girls, staring at him,

The Child's Story

by Charles Dickens


Once upon a time, a good many years ago, there was a traveller, and he set out upon a journey. It was a magic journey, and was to seem very long when he began it, and very short when he got half way through.
He travelled along a rather dark path for some little time, without meeting anything, until at last he came to a beautiful child. So he said to the child, "What do you do here?" And the child said, "I am always at play. Come and play with me!"
So, he played with that child, the whole day long, and they were very merry. The sky was so blue, the sun was so bright, the water was so sparkling, the leaves were so green, the flowers were so lovely, and they heard such singing-birds and saw so many butteries, that everything was beautiful. This was in fine weather. When it rained, they loved to watch the falling drops, and to smell the fresh scents. When it blew, it was delightful to listen to the wind, and fancy what it said, as it came rushing from its home-- where was that, they wondered!--whistling and howling, driving the clouds before it, bending the trees, rumbling in the chimneys, shaking the house, and making the sea roar in fury. But, when it snowed, that was best of all; for, they liked nothing so well as to look up at the white flakes falling fast and thick, like down from the breasts of millions of white birds; and to see how smooth and deep the drift was; and to listen to the hush upon the paths and roads.
They had plenty of the finest toys in the world, and the most astonishing picture-books: all about scimitars and slippers and turbans, and dwarfs and giants and genii and fairies, and blue- beards and bean-stalks and riches and caverns and forests and Valentines and Orsons: and all new and all true.
But, one day, of a sudden, the traveller lost the child. He called to him over and over again, but got no answer. So, he went upon his road, and went on for a little while without meeting anything, until at last he came to a handsome boy. So, he said to the boy, "What do you do here?" And the boy said, "I am always learning. Come and learn with me."
So he learned with that boy about Jupiter and Juno, and the Greeks and the Romans, and I don't know what, and learned more than I could tell--or he either, for he soon forgot a great deal of it. But, they were not always learning; they had the merriest games that ever were played. They rowed upon the river in summer, and skated on the ice in winter; they were active afoot, and active on horseback; at cricket, and all games at ball; at prisoner's base, hare and hounds, follow my leader, and more sports than I can think of; nobody could beat them. They had holidays too, and Twelfth cakes, and parties where they danced till midnight, and real Theatres where they saw palaces of real gold and silver rise out of the real earth, and saw all the wonders of the world at once. As to friends, they had such dear friends and so many of them, that I want the time to reckon them up. They were all young, like the handsome boy, and were never to be strange to one another all their lives through.
Still,

Austin International Poetry Festival, April 7-10, 2016

Austin Poets International promotes literary excellence by uniting poets from around the world to celebrate the diversity of humanity through the power of written and spoken word.

Austin Poets International’s three program activities are the Austin International Poetry Festival, di-vêrsé-city Anthology, and Youth Education. This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department and the Texas Commission on the Arts.
The Austin International Poetry Festival is also known as AIPF.  We have just completed our 23rd festival and have already started planning the 24th festival.  The festival includes unique Austin venues, diverse themed poetry readings, open mics, workshops, music & poetry, anthology reading, dusk to dawn, and poetry symposium.  AIPF has hosted poets from over 45 countries across the globe.

di-vêrsé-city is the annual anthology published by API and released during the festival.    Congratulations to Lu Streeter, Marcie Eanes, Chuck Wemple, and DaRell for their winning submissions in our most recent publication.

Youth Education teaches valuable skills for K-12 students to learn and improve their poetry.  Registration is always free for K-12 students. Activities include a youth anthology competition with cash prizes and awards, printed youth anthology, anthology reading, themed readings, workshops, and a slam.


The Gist

By
We thought we wanted something cuddly,
or at the very least, transparent.
But everything has a bit of murk about it
these days, especially at this time of year.

The box Carol is standing catty-corner to
may contain an antidote to your particular disease,
or it may contain nothing at all.
Better stick with the stuffed partridge,

which can always serve as a token. No one
will ask you for what, or why its feet are
painted that “strange” color.

It comes in spurts, not unlike the tide,
which also comes. And goes of course,
as if it can’t make up its mind. It
would all be so much simpler if we knew

the gist, or had an inkling, or understood
the local patois. It’s bad enough having
all these unwanted children in our midst,
and forgetting the remedies and melodies

of our youth.

steps to writing your first poem

 Good evening friends.tonight i will be sharing with you the steps involved in writing that first piece of poetry. 


Three Easy Steps

1. Relax! All that stuff I said about the Great Poets? It doesn't matter! While poetry may be an ancient and well-respected art form, your poetry doesn't have to be anything other than words on a page (or in your head). Forget about everything you think that poetry is supposed to be. It doesn't have to rhyme or make sense or even have real words. A poem is merely a way of expressing something, and our thoughts don't always make sense. Don't expect your poem to be great the first way you write it, and you won't work yourself up into an unnecessary writer's block.
2. Experience some poetry. Read it, listen to it, learn about it, anything! The best thing a writer can do is read. Do you ever find your thoughts "writing" themselves in the tone of the author of a book you're reading? Use this to your advantage as you get yourself in the "poetry" mindset. Read a book or Google a poet you've never read before. If Walt Whitman doesn't inspire you, read some Federico Garcia Lorca. You'll probably find that, once you find a poet who resonates with you, your creative juices will start flowing whether you want them to or not!
3. Just do it. "But... but..." No buts! If you've done the first two steps, you are more than adequately equipped to do some writing. Grab your favorite writing utensil (or open your favorite typing program) and jot down some words. Know that you never have to show them to anyone, so they can be the lamest, most inane words you think you've ever seen. It doesn't matter. If you edit yourself before you even write it down, you'll get stuck under the heavy weight we call Writer's Block. If you just let yourself write, you will. It's really that simple.

credited to: Hub pages

Wednesday, 19 August 2015


hypocrites

smoking is bad
preaches the teacher
as he bites his nails
in anticipation
of his next
cigarette.

Jazmyn Lilo Mae

Hypocrites

We claim to be children of God in this age.
We claim to want peace as we fire hand grenades.
We want the truth as we tell our own lies.
We want promises but break our own ties.

Corrupted, mislead, riots turning the streets red.
Turn off the TV, tuck your children safely in bed
With these images stuck in their head.

Our brains are rotting what has this world caused us to be?
21st century zombie-
Plugged in at all times.
Why is our laziness not considered a crime?

Why has He
Not come forth to teach us there's
So much more in this life-

Besides the pillage, the rape.
Everyone has their own sex tape.
The hooker, the politics, the News
There is no difference, no one wears a cape.

We claim to know what's best, but let the wrong govern us: the minority and the rest.
We claim to want to help, but lock up the wrong because he is not like our self.
We claim to be equal, but won't let me marry who I want to still.
We claim and we claim, but it all stays the same.

Monday, 17 August 2015

America In 4 Minutes (Official Video) || Spoken Word

White Lies

By Natasha Trethewey
 
The lies I could tell,
when I was growing up
light-bright, near-white,
high-yellow, red-boned
in a black place,
were just white lies.

I could easily tell the white folks
that we lived uptown,
not in that pink and green
shanty-fled shotgun section
along the tracks. I could act
like my homemade dresses
came straight out the window
of Maison Blanche. I could even
keep quiet, quiet as kept,
like the time a white girl said
(squeezing my hand), Now
we have three of us in this class.

But I paid for it every time
Mama found out.
She laid her hands on me,
then washed out my mouth
with Ivory soap. This
is to purify, she said,
and cleanse your lying tongue.
Believing her, I swallowed suds
thinking they'd work
from the inside out.

Water Water Water Wind Water

By Juan Felipe Herrera
for New Orleans and the people of the Gulf Coast

water water water wind water
across the land shape of a torn heart
new orleans waves come louisiana the waves come
alabama wind calls alabama
and the roofs blow across red clouds
inside the divine spiral
there is a voice
inside the voice there is light
water wind fire smoke the bodies float
and rise

kind flames bow down and move across
the skies never seen blackish red bluish bruised
water rises houses fall the child
the elders the mothers underwater
who will live who will rise
the windows fill with the howling
where is the transfusion where is the lamp
who who in the wet night jagged in the oil

waves come the lakes loosen their sultry shape
it is the shape of a lost hand a wing broken
casinos in biloxi become carnations across the sands
and the woman in the wheelchair descends
her last breath a rose in the razor rain
uptown on mansion hill even the million dollar house bows
in the negative shade someone is afloat
a family dissolves the nation disappears
neighborhoods fade across lost streets the police
dressed in newspapers flutter toward nothingness moons
who goes there

under our floors filtered wooden stars
towels and glass gasoline coffins
the skin of trees and jalopy tires fish
bebop dead from the zoo the dogs half drag
ward number nine miss Symphony Spikes and
mrs. Hardy Johnson the new plankton new
algae of the nameless stroll in the dark ask
the next question about kindness
then there is a bus a taxi a hearse a helicopter
a rescue team a tiny tribe of nine year olds
separating the waters the oils and ashes
hear the song of splinters and blood tree sap
machine oil and old jazz trumpeters z's and x's
raffia skirts and jujube hats and a father man
holds the hand of his lover saying take care of the children
let me go now let me stumble stumble nowhere drink this
earth liquor going in petals

stadiums and looters
celebrities cameras cases more water cases
again and again a new land edge emerges
a new people emerges where race and class and death
and life and water and tears and loss
and life and death destruction and life and tears
compassion and loss and a fire stolen bus
rumbles toward you all directions wherever
you are alive still


Juan Felipe Herrera, "Water Water Water Wind Water" from Half the World in Light: New and Selected Poems. Copyright © 2008 by Juan Felipe Herrera.  Reprinted by permission of University of Arizona Press.


Source: Half the World in Light: New and Selected Poems (University of Arizona Press, 2008)

The Wreck

By Don Paterson
 
But what lovers we were, what lovers,
even when it was all over—

the bull-black, deadweight wines that we swung
towards each other rang and rang

like bells of blood, our own great hearts.
We slung the drunk boat out of port

and watched our sober unreal life
unmoor, a continent of grief;

the candlelight strange on our faces
like the tiny silent blazes

and coruscations of its wars.
We blew them out and took the stairs

into the night for the night's work,
stripped off in the timbered dark,

gently hooked each other on
like aqualungs, and thundered down

to mine our lovely secret wreck.
We surfaced later, breathless, back

to back, and made our way alone
up the mined beach of the dawn.
Don Paterson, "The Wreck" from The White Lie: New and Selected Poetry. Copyright © 2001 by Don Paterson.  Reprinted by permission of Graywolf Press.


Source: The White Lie: New and Selected Poetry (Graywolf Press, 2001)

This Is My Last Report

By Juan Felipe Herrera
 
This is my last report:
I wanted to speak of existence, the ants most of all,
dressed up in their naughty flame-trousers, the exact jaws,
their unknowable kindnesses, their abyss of hungers,
and science, their mercilessness, their prophetic military
devotions, their geometry of scent, their cocoons
for the Nomenclature,

I wanted to speak of the Glue Sniffers
and Glue Smoothers who despise all forms
unbound, loose in their amber nectars, I wanted
to point to their noses, hoses and cables and networks,
their tools, if I can use that word now—and scales and
scanners and Glue Rectories.

I wanted you to meet my broom mother
who carved a hole into her womb
so that I could live—

At every sunset she stands
under the shadow of the watchtowers
elongating and denying her breath.

I wanted to look under the rubble fields
for once, for you (if you approved), flee
into the bullet-riddled openness and fall flat,
arched, askew, under the rubble sheets
and let the rubble fill me

with its sharp plates and ripped dust—
alphabets incomplete and humid. You,
listen,

a little closer
to the chalk dust—this child swinging her left arm,
a ribbon, agitated by unnamed forces, devoured.


Juan Felipe Herrera, "This Is My Last Report" from Half the World in Light: New and Selected Poems. Copyright © 2008 by Juan Felipe Herrera.  Reprinted by permission of University of Arizona Press.


Source: Half the World in Light: New and Selected Poems (University of Arizona Press, 2008)

@iamthinkingpen || The Prostitute || Spokenword

 Thinking Pen  performing live at the Uniben Main Auditorium @ Graham Garrick Words Unspoken

Tuesday, 4 August 2015

Dorianne Laux

1952- , Augusta , ME
Dorianne Laux
Photo credit: John Campbell
Related Schools & Movements: 
Contemporary

On January 10, 1952, Dorianne Laux was born in Augusta, Maine. She worked as a sanatorium cook, a gas station manager, a maid, and a donut holer before receiving a BA in English from Mills College in 1988.
Laux is the author of several collections of poetry, The Book of Women (Red Dragonfly Press, 2012); The Book of Men (W.W. Norton, 2011), which won The Paterson Prize and The Roanoke-Chowan Award; Facts About the Moon (W. W. Norton, 2005), which was the recipient of the Oregon Book Award, chosen by Ai, and a finalist for the National Book Critics Circle Award and the Lenore Marshall Poetry Prize; Smoke (BOA Editions, 2000); What We Carry (BOA Editions, 1994), a finalist for the National Book Critics Circle Award; and Awake (BOA Editions, 1990), which was nominated for the San Francisco Bay Area Book Critics Award for Poetry. Her poems have been translated into French, Italian, Korean, Romanian, Afrikaans, Dutch, and Brazilian Portuguese.
About Laux’s work, the poet Tony Hoagland has said, “Her poems are those of a grown American woman, one who looks clearly, passionately, and affectionately at rites of passage, motherhood, the life of work, sisterhood, and especially sexual love, in a celebratory fashion.”
Laux is also coauthor (with Kim Addonizio) of The Poet’s Companion: A Guide to the Pleasures of Writing Poetry (W.W. Norton, 1997). Among her awards are a Pushcart Prize, an Editor’s Choice III Award, The Best American Poetry in 1999, 2006 and 2013, and a fellowship from the National Endowment for the Arts.
Laux has taught at the University of Oregon’s Program in Creative Writing. She now lives with her husband, poet Joseph Millar, in Raleigh, North Carolina, where she teachings in the MFA program at North Carolina State University.



Bibliography

Poetry

The Book of Women (Red Dragonfly Press, 2012)
The Book of Men (W.W. Norton, 2011)
Facts About the Moon (W. W. Norton, 2005)
Smoke (BOA Editions, 2000)
What We Carry (BOA Editions, 1994)
Awake (BOA Editions, 1990)

Prose

The Poet’s Companion: A Guide to the Pleasures of Writing Poetry, coauthored with Kim Addonizio (W.W. Norton, 1997)