Through My Father’s Eyes, Collected Poems by Sheila Jacob / Review, Interview, Poems

” . . . Two months later
you were hurried to the hospital
and died within the week.

“I stuffed your letters in a drawer
and found your fountain pen,
the ink inside still wet.”

excerpt from Letters From Home in Though My Father’s Eyes



I am often hesitant to review and recommend self-published books. Sometimes it seems that however talented and well-intentioned the poet, their collection needed another eye, an editor. We all need one frankly. Having said that, I am pleased with Sheila Jacob’s book as I knew I would be. Sheila did invite feedback from an editor and other poets before finalizing this volume, which I have now read twice and with great pleasure. Such is our humanity and the power of poetry that we can touch hearts across 3,500 miles and the wide Atantic.

Sheila, whose father died when she was thirteen, and I couldn’t be closer in terms of time (I’m a bit older than she is), roots (working class), and parents born on the cusp of or not long after WW I. Our parents were the hard-worked people of the global Great Depression and WW II. They were people who who kept their pain private, lived in gray cities, walked hard streets to work in factories and knew how to squeeze a penny. These elements are one reason why Sheila’s poems spoke to me, but I also know that her poems – this collection – will speak to anyone who values fine poetry as well as their own roots and their own loves and who have had to come to terms with loss and grief. Who among us has not? This small volume is a victory over sorrow and confusion and it brings to life one father and his daughter in all their loveable complex humanity. Recommended. / J.D.

The Doctors said I was a goner. You know the rest,
duck, an Irish nurse slipped a Lourdes medal
under my pillow and hours later I woke up, found
I could breathe on my own and talk.

You used to love the story.

Ah, yes, I see, perhaps I did make a meal
of it, ignored how I felt living through
the Blitz and coming home on leave
to streets of rubble.

I was loaded with memories
you were too innocent
to share.

excerpt from War Record in Through My Father’s Eyes


The poems and excerpts from poems in Through My Father’s Eyes are published here today with Sheila’s permission.


INTERVIEW

JAMIE: Not to diminish the extraordinary quality of your work and how meaningful it will be to others who read it, but writing these poems must have been cathartic for you. Did you come away from the writing feeling healed?

SHEILA: Yes, I did feel healed. Putting words on paper and clarifying my thoughts helped me make sense of my dad’s death, my reaction to it and my overall relationship with him. It enabled me to continue the grieving process which didn’t really begin until I was an adult and had left home. My parents, aunts and uncles, were from the post-war stiff-upper-lip generation who refused to dwell on grief. After Dad’s funeral they carried on as before with very little show of outward emotion and I was encouraged to do the same. My mum had always been a reserved person; she retreated into herself and never spoke to me about Dad even in the most general terms. I was angry and bewildered at the time though now I understand that it was the only way she could cope. 

I suspect there are poems waiting to be written about my mum’s experience: written, hopefully, with the generosity of spirit I didn’t have as a teenager and young adult. And I’m still writing “Dad” poems. The past never stays still.

I also found it necessary- and therapeutic – to explore my dad’s boyhood, which seems to have been a happy one despite financial deprivations, his love of football, and his time in the army during WW II. This gave me a fresh sense of belonging to and being rooted in my Birmingham past.

JAMIE: I seem to remember that you mentioned having stopped writing poetry for years and then started again.  What triggered your reengagement with poetry?

SHEILA: This began in 2013 during an episode of depression. I consulted a clinical psychologist, a most remarkable man with whom I am still in touch. He’d encountered the work of Anne Sexton and Sylvia Plath in his professional capacity. When he discovered I used to read and write poetry, he strongly encouraged me to start again. 

I remember how I‘d been seeing him for a few weeks and he suddenly said “Write a poem on the sessions so far.”

I cobbled something together for our next appointment and also dusted off my poetry library, mostly collections by Gillian Clarke, R.S.Thomas and T.S. Eliot.  I continued writing, for his eyes only at first. This gradually expanded. I read a lot about poetry as therapy and wrote a small piece about my own experience for Rachel Kelly’s Blog. Rachel is the author of Black Rainbow, an account of her long struggle against depression and the positive part reading poetry played in her recovery.

I found a website called Creative Writing Ink and took a beginner’s poetry course with a perceptive and experienced tutor, an Irish poet, Eileen Casey. Her feedback was invaluable. I began subscribing to various poetry magazines and, eventually, submitting.  

JAMIE:  In what ways has involvement with online poetry groups been productive for you?

SHEILA: They’ve helped greatly with the quality of my poems. I tend not to write one word when ten will do. I’ve learned/am learning to be more economical and precise with my use of words. My poems are still on the long side but I write in a narrative style that I think lends itself to the longer poem. I’m not a great lover of form but I’ve written sestinas, non-rhyming sonnets, tankas, cinquains and, of course, haiku which really concentrate the mind. I pay more attention to line breaks, line lengths and stanza lengths. I never used to edit my poems let alone re-edit them. Now, I often leave troublesome ones to cook for months before I return to them. 

It’s been enriching to discover the work of a wide variety of poets, living and deceased, and to explore different subject matter. I’ve done courses in ekphrastic poetry, poems of trauma, poems of protest, and poems of place. The most recent course I did was with Jonathan Edwards’ for The Poetry School where he asked us to “step into someone else’s shoes” and write from the point of view of an animal, a building, and an inanimate object, amongst others. I found this very enjoyable and liberating. 

The second benefit of poetry groups is the undoubtedly the fellowship. I’ve received valuable, constructive feedback, I’ve met poets from all over the globe, read styles of poetry I wouldn’t otherwise have engaged with and formed lasting, supportive friendships.

JAMIE: You chose to self-publish, which is something a lot of readers are contemplating.  Why did you do so and what was the experience like?

SHEILA: I would have preferred to publish my chapbook with an established poetry press but the ones I submitted to didn’t like my work well enough to take it on. I have no hard feelings about this. Maybe I should have tried more publishers and waited longer for submission openings but I’m almost sixty nine and didn’t feel that time was on my side.

There was also an emotional element involved. I wanted closure from this particular set of poems by sending them out into the world sooner rather than later. I’d worked hard on them over the years and felt there was a niche for them somewhere in the poetry world. 

I did a mentoring course with Wendy Pratt, a lovely lady and a very fine poet. I sent her a proposed collection to critique and she immediately suggested that I should focus solely on the poems about my Dad. Her encouragement gave me the confidence to self-publish. I also had a lot of support from a Facebook friend Jenni and a local poet friend David Subacchi who has self-published quite a few books and encouraged me to “just do it” without worrying that they weren’t “proper” poems or that it wasn’t a “proper” book.

Once I felt that the poems were as good as I could make them the actual publishing was very straightforward. I contacted a reputable local publisher, David Bentley, whose ideas on layout were useful. He suggested using a thicker, creamy paper to correspond with the memoir theme of the poems.

This wasn’t a cheap process but I had money saved for it and wanted to be in control of the proceedings on the ground rather than through a computer. If I self-publish again I may well take a different approach.


To purchase this little gem of a volume, contact Sheila directly at she1jac@yahoo.com


POEMS

 The Power of Flight    

 After you died                                 

 the echo of your cough                                          

 roamed the house.

 

When a dark shape 

filled your bedroom’s

open window

 

I ran to tell Mum, 

who ran next door,

both of us unnerved

 

by the bird’s frantic

tumble of feathers

and whirr of wings.

 

It’s just a young one

our neighbour laughed

and calmed it with a lift

 

of her hands,

steered it towards                           

the power of flight,

 

the possibility of song.

.

A Boy Called Anthony

Anthony would serve at Mass, ring the consecration bell.

Anthony would play 5-a-side football, win gold trophies.

Anthony would pass his 11-plus, go to St. Philip’s School.

 

When the midwife cried “It’s a girl” Dad searched

for new names, called me after his favourite sister, he sang

pat-a-cake and bake it in the oven for Sheila and me.

 

I couldn’t be an altar boy but knew the Latin responses,

couldn’t play football but watched with Dad at Villa Park,

passed my 11-plus, went to St. Paul’s where the nuns taught.

 

When end-of-term results grew worse, Dad grew angry.

I scowled, sulked- I’d tried my best, just didn’t like Maths.

You should have been a boy called Anthony, Dad snapped.

 

Anthony would have excelled in Maths, Physics and Science.

Anthony wouldn’t have answered back, chewed his nails,

muttered bloody hell, been sent to his room in disgrace.

 

Anthony, I realised then, would never fail or win, Anthony

couldn’t drink dandelion-and-burdock through a straw,

Anthony couldn’t laugh, skip, scrage his knee and bleed.

 

Anthony would never run to Dad, blurt out I’m very sorry,

I promise not to be rude again. He couldn’t hug Dad, weep

against Dad’s shoulder, smell the Brylcreem in Dad’s hair.

 

Don’t forget it’s nearly Father’s Day                                                 

 

As if I could forget how it fell

two days after they lowered

his coffin into the earth

 

though fifty-odd years ago

I was spared online adverts 

for Ben Sherman socks 

and flagons of Dior Savauge.

 

As I’d have offered such gifts

to a man whose socks 

were hand-knitted, darned

at the heel with love;

 

whose favourite cologne

was pure Welsh water 

splashed from the cold tap.

 

As if I wouldn’t make each day

a day to remember had he lived

He’d be a frail centenarian

 

I’d cosset with chunky scarves

and camphor oil; open the old

draughts board knowing 

he’d outplay me every time.

            

– Sheila Jacob


SHEILA JACOB was born and raised in Birmingham, England and lives with her husband in Wrexham, on the Welsh border. Her poetry has been published in several U.K. magazines and webzines. She recently self-published her short collection of poems that form a memoir to her father who died in 1965. Sheila finds her 1950s childhood and family background a source of inspiration for many of her poems. You can connect with Sheila by email: she1jac@yahoo.com


ABOUT

Recent in digital publications: 
* Four poemsI Am Not a Silent Poet
* Remembering Mom, HerStry
* From the Small Beginning, Entropy Magazine (Enclave, #Final Poems)(July 2019)
Upcoming in digital publications:
* Over His Morning Coffee, Front Porch Review (July 2019)
* The Damask Garden, In a Woman’s Voice (August 2019)

A busy though bed-bound poet, writer, former columnist and the former associate editor of a regional employment newspaper, my work has been featured widely in print and digital publications including: Levure littéraireRamingo’s Porch, Vita Brevis Literature, Connotation Press, The Bar None Group, Salamander CoveI Am Not a Silent Poet, Meta/ Phor(e) /Play, Woven Tale PressThe Compass Rose and California Woman. I run The Poet by Day, a curated info hub for poets and writers. I founded The Bardo Group/Beguines, a virtual literary community and publisher of The BeZine of which I am the founding and managing editor. I’ve been featured on The MethoBlog, on the Plumb Tree’s Wednesday Poet’s Corner, and several times as Second Light Live featured poet.

Email me at thepoetbyday@gmail.com for permissions, reprint rights, or comissions.


“Every pair of eyes facing you has probably experienced something you could not endure.”  Lucille Clifton



“At the End of War”, DeWitt Clinton / Review, Interview, Poems

“Prayer is said Standing
A Barechu, a call to Worship
We have not bothered, we are weak
We are too weak to even Speak
Every day is our Yom Kippur”
Reading the Tao at Auschwitz, VII, DeWitt Clinton, At the End of War (Kelsay Books, 2018)



DeWitt Clinton’s At the End of War moves with a graceful precision weaving Old Testament  stories with contemporary life, visits to the opera or cafe. Here and there are notes of humor as in On Leaving Socrates with His Jailer and hints of middle-America folksy, as in On the Way to Church Camp, Mother Meets the Devil. He speaks in many voices, blending the perspectives of Judaism and the Tao, slowly moving into the unspeakable tragedy of World War II and the Jewish Holocaust. This is the main event, if you will, of the collection, the obscenity of it layered with sacred ritual and text, an unflinching attempt to come to terms, to find identity, to rise above, to move past. The collection derives its name from the closing poem, which is after Wislawa Szymorska’s The End and the Beginning. 

Wislawa Szymorska begins her poem with:
“After every war
someone has to clean up.
Things won’t
straighten themselves up, after all.”

DeWitt Clinton closes his collection with:
“Brooms. everybody, find all the brooms.
Can anyone send a letter? We need to let
someone know this has happened.

“Tomorrow we can start burning our families.
Surely someone will see the smoke.
Surely someone will come.”

We are in tears as we close the book. We are at once bathed in despair and hope. How many brooms will we need to clean up after all the wars and genocides? Do we finally grasp the futility of war? Will there ever be an end to the genocides of which twenty-four are happening as we “speak”? / J.D.

The excerpts from At the End of War are published here with permission. This book is recommended. / The quotation from The End and the Beginning is from Miracle Fair by Wislawa Szymborsk, translated by Joanna Trzeciack (W.W. Norton and Company Inc., 2001), also recommended.


ON LEAVING SOCRATES ALONE WITH HIS JAILER

(for my students of The Symposium, The Apology,

 Crito and Phaedo)

What started out as a sex wine party turned into a major

Mind concussion for my students, but still, we waded

Through the prose, hopeful they’d find out why

He insisted on so many questions, so many questions,

So many disillusioned Athenians. Yet toward the end,  

We could only face the charges, something about impiety

And influencing the youth, both trumped up, of course,

Mostly as a ruse to run him out of town, if he would go.  

But we knew he would not go.  We voted to acquit,

Even invoking Johnny Cochran’s “if it doesn’t fit,”

But sadly they were only seven at the time, more up

On Paris’s short sojourn than old football stars facing

Bogus trials.  Late in the day, we even considered assisting

Our friend out into the dark, but as you must know,

He trusted in the Laws even if the Laws never assumed

It would go this far.  We talked about “Prison Break,”

But few even had time to watch that, so busy chewing

The dense prose of friend/reporter Plato late on the scene.  

Most of us were quite done in by all the “soul talk”

Of those last pages, and then, we had to leave, some students

Actually having lost their speech, some needing crutches,

Some on life support, leaving our friend wandering

Through the underground calling out for Homer or Orpheus

Or anyone who wouldn’t mind sitting down for a very long

Conversation about nearly everything, since time is now

Beyond even Infinity.  That’s when I left, too, our poor

Cave-like classroom a faux jail cell, wondering if any of us

Could have comforted our gadfly, our inquirer, who is

Just now lifting his cup, resigned, cheery even. Au revoir,

Old friend, let’s hope your students do well on their final.

– excerpt from At the End of War  

INTERVIEW

JAMIE: I think it takes enormous courage to visit Holocaust sites – even to visit the museum in Los Angeles – and then to relive the experience through your writing. Would you speak of that?

DeWITT: One of the more provocative statements about art and The Holocaust is Theodor Adorno’s comment, “To write poetry after Auschwitz is barbaric.”  This remark can be taken several ways, including any poetry about anything after Auschwitz, or as I take it, poetry written about Auschwitz after Auschwitz is barbaric.  And why is that?  Perhaps because for all who died, and the few who survived at Auschwitz, and at all the other work and death camps, there was nothing “artistic” about it.  

Ralph Fiennes, playing the character of Michael Berg, in the film, “The Reader,” asks a child survivor of Auschwitz, “Did you learn anything?”  The now aging daughter, played by Lena Olin, replies, “People ask all the time what I learned in the camps. But the camps weren’t therapy. What do you think these places were? Universities? We didn’t go there to learn.” She continues by saying, “Nothing comes out of the camps. Nothing.”  

The death camps were neither schools, nor artistic experiences, but it is through art that we can at least remember some of what happened, even if it did not happen to the artist.  I’ve been writing about historical events for a number of decades now, and while the art is anachronistic, I think it is also an extension of that history as well.  I recall writing about the Spanish conquistador wars against the native Maya, Aztec and Incan tribes, (The Conquistador Dog Texts, and The Coyot. Inca Texts, New Rivers Press, o.o.p.) and the poetry is certainly not “accurate,” as a historian might write, but it is an artistic rendering of the horrible inflictions the native tribes experienced.  The same may be true for writing about the Holocaust. 

I’ve read historical renderings of the Holocaust, and read poetry and plays and memoirs about the Holocaust as well, and the latter are far more interesting to me as an artist. While studying the Tao de Ching with my undergraduate students, I began to consider a new path that I might take in trying to remember my experience of visiting Auschwitz I and II camps several years ago.  The result is an unusual fusion, and quite anachronistic, but I hope readers will ponder the insights of Lao Tzu as they read “Taoist like” poems of what the prisoners might have thought about as they were starving to death, or what they might have wondered as tens of thousands were marched to the gas chambers and crematoriums.  

I have read a number of artistic renderings of Holocaust experiences, and I hope anyone who reads “Reading the Tao at Auschwitz” will be open to considering a new lens to consider the horrors experienced by all who died, or survived.  I can also appreciate how survivors, or children, or grandchildren of survivors, might be appalled by such artistic renderings of mine.  It’s a long and difficult to absorb poem, but I hope it is also a valuable contribution to Holocaust literature.  

JAMIE: As a writer, what drew you to poetry instead of other literary options?

DeWITT: I’ve always imagined writing screen plays, novels, stage plays, short stories, novellas, and an array of other genres of imaginative writing, but I’ve been drawn to poetry ever since a college professor asked me to rewrite a prose piece to poetry.  Then I enrolled in a poetry writing workshop with the same professor my last semester, and though I can’t or don’t want to remember what I wrote in that class, the experience was quite wonderful, especially the instructor’s wife’s cookies.  I’ve been drawn to poetry workshops, classes, conferences, and retreats for quite some time now, and do I know why I’m still drawn to poetry?  No I don’t, even though I am still poking around for images and lines.  It’s just a huge joy to be able to still compose poetry, no matter what evolves from a writing session.  

JAMIE: As a beginning writer, what poetry most inspired you and why? 

DeWITT: I took a copy of Coney Island of the Mind with me to Vietnam in late 1969 and read it over and over, but not when we were being shelled or fired upon.  I may have taken other poetry collections, perhaps The Wasteland, but I’m not sure about what I read.  But I did enroll (by correspondence) in an extension class from the University of Kansas at Lawrence. The course was a fairly traditional reading class of modern poetry, and though I enjoyed it, I soon asked the professor if I could send him some scraps of poetry I’d been writing on a 105 howitzer firebase in Vietnam which would later become “The Spirit of the Bayonet Fighter,” published in Harper & Row’s Winning Hearts and Minds.

By the end of my tour, I was hoping to enroll in grad school at Wichita State University which offered a M.A. in English & Creative Writing, and later an M.F.A. and a Ph.D. in English and Creative Writing at Bowling Green State University (Ohio).   By then, and then was a long time ago, I was interested in what would later become a career of teaching English and creative writing, and hopefully, writing more poetry, and finding a few kind hearted editors.  The teaching career is over, but I still look forward to writing new poems, and I’m still sending out a few now and then.

JAMIE: What’s next on the agenda for you?

It occurred to me only a few days ago that I may have a third collection of poems (a second collection is in production with Michael Dickel, Gary Lundy, and Is a Rose Press, an adaptation of Kenneth Rexroth’s 100 Poems from the Chinese) as I’ve been writing much more since I retired from teaching a few years ago.  I’m not quite sure it’s ready for submission as a book, but I’d like to keep working on it.  One press has a deadline in late August, and I’m hoping to aim for that as a possible submission.  Poetry isn’t everything in my life, as I also appreciate the benefits of Iyengar Yoga, and training for races and triathlons.  The next big one is in Berlin, one of the 6 world major marathons.  I certainly did not qualify to be in the race because of my lightning speed, but instead I earned a “lottery” ticket, which was a random selection of thousands of hopeful participants.  Sightseeing a few days after, including a short trip to the Wannsee chateau where during a luncheon in early 1942, high ranking Nazi Party and military officers designed what was known as “The Final Solution.”  


“From this place
Ashes rising from this place
Ashes circling as far as one could see
Ashes circling over All
Over Everyone over Everything
Circling a constant circling
A rink forever circling
a constant ringing s’hma Israel”
Reading the Tao at Auschwitz, XVIII, excerpt from At the End of War  


Sh’ma Yisrael Adonai Eloheinu Adonai Ecḥad
Hear, O Israel: the Lord is our God, the Lord is One


Photo by Meredith W. Watts, “For Good” Photography​

DeWITT CLINTON  is the author of three books of poetry:  The Conquistador Dog Texts and The Coyot. Inca Texts (New Rivers Press), At the End of the War (Kelsay Books, 2018), and a fourth collection is coming out in late 2019 or 2020:  On a Lake by a Moon: Fishing with the Chinese Masters, (Is A Rose Press).  His poems and essays have appeared in The Journal of Progressive Judaism (with co-author Rabbi David Lipper), Journal of Inter-Religious Dialogue, Cultural Studies< => Critical Methodologies, Storytelling Sociology: Narrative as Social Inquiry, and Divine Inspiration: The Life of Jesus in World Poetry (Oxford U Press).

A few recent publications include The Last Call: The Anthology of Beer, Wine & Spirits Poetry, Santa Fe Literary Review, Verse-Virtual, New Verse News, Ekphrastic Review, Diaphanous Press, Meta/Phor(e)Play, The Arabesques Review, and The New Reader Review.  He is Professor Emeritus of English at the University of Wisconsin—Whitewater, and lives with his wife, Jacqueline, in Shorewood, a small village one street north of Milwaukee.  

DeWitt’s Amazon Page U.S. is HERE.
DeWitt’s Amazon Page U.K. is HERE.


ABOUT

Recent in digital publications: 
* Four poems in “I Am Not a Silent Poet”
* Remembering Mom in HerStry
* Three poems in Levure littéraire
Upcoming in digital publications:
“Over His Morning Coffee,” Front Porch Review

A homebound writer, poet, and former columnist and associate editor of a regional employment newspaper, my work has been featured widely in print and digital publications including: Ramingo’s Porch, Vita Brevis Literature, Connotation Press, The Bar None Group, Salamander Cove, I Am Not a Silent Poet, The Compass Rose and California Woman. I run The Poet by Day, an info hub for poets and writers and am the founding/managing editor of The BeZine.


“Every pair of eyes facing you has probably experienced something you could not endure.”  Lucille Clifton



 

“Brooklyn: A Personal Memoir” by Truman Capote with the lost photographs of David Attie … not just for my Brooklyn peeps

Truman Capote (1924 – 1984)

“I am always drawn back to places where I have lived, the houses and their neighborhoods.” Truman Capote, Breakfast at Tiffany’s



by Truman Capote (Author), David Attie (Photographer), George Plimpton (Introduction), Eli Attie (Afterword)

Of the books I read this year, this birthday gift from my son and my daughter-in-law is by far my favorite … and not just because I’m from Brooklyn and it’s a bit of nostalgia and a stellar homage. I’m a Capote fan and a David Attie fan and Brooklyn: A Personal Memoir by Truman Capote With the Lost Photographs of David Attie brings the writer and photographer together in the most delightful way.

“I live in Brooklyn by choice.”

If you’re a Capote fan, you’ll learn about his life in Brooklyn and just why he loved it. There are two photographs of a young Truman that some fans might find worth the price of admission. One is on the book cover (above) the other is included in the video below. The photographic collection in this book was originally commissioned to use as a promo for Capote after the publication of his novella, Breakfast At Tiffany‘s (1958).

Capote captures the essential Brooklyn in his writing, the singular gentility of the time and place, the grittiness of certain quarters, and the ways in which it could be excentric. Attie’s  photos – taken in 1959 – document the tenor of a time now alive only in the memory of a generation that is slowly passing.

David Attie’s photographs were never published and thought to be lost. When Attie’s son Eli found them, he merged them together with Capote’s narrative and they were published at last, a visual feast, engaging for Brooklynites, Capote fans, literary history and photography buffs.

Photo credit: Jack Mitchell under CC BY-SA 4.0; signature is public domain.

The short video below gives a brief overview of the book and includes many of David Attie’s photographs. If you are reading this post from an email subscription, you’ll likely have to link through to the site to view the video.



What would you find pleasant or helpful on The Poet by Day in 2019?  What have you found helpful to date? Link HERE to let me know.




ABOUT

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Poet and writer, I was once columnist and associate editor of a regional employment publication. I currently run this site, The Poet by Day, an information hub for poets and writers. I am the managing editor of The BeZine published by The Bardo Group Beguines (originally The Bardo Group), a virtual arts collective I founded.  I am a weekly contributor to Beguine Again, a site showcasing spiritual writers. My work is featured in a variety of publications and on sites, including: Levure littéraure, Ramingo’s PorchVita Brevis Literature,Compass Rose, Connotation PressThe Bar None GroupSalamander CoveSecond LightI Am Not a Silent PoetMeta / Phor(e) /Play, and California Woman. My poetry was recently read by Northern California actor Richard Lingua for Poetry Woodshed, Belfast Community Radio. I was featured in a lengthy interview on the Creative Nexus Radio Show where I was dubbed “Poetry Champion.”


The BeZine: Waging the Peace, An Interfaith Exploration featuring Fr. Daniel Sormani, Rev. Benjamin Meyers, and the Venerable Bhikkhu Bodhi among others

“What if our religion was each other. If our practice was our life. If prayer, our words. What if the temple was the Earth. If forests were our church. If holy water–the rivers, lakes, and ocean. What if meditation was our relationships. If the teacher was life. If wisdom was self-knowledge. If love was the center of our being.” Ganga White, teacher and exponent of Yoga and founder of White Lotus, a Yoga center and retreat house in Santa Barbara, CA

“Every pair of eyes facing you has probably experienced something you could not endure.” Lucille Clifton

 

THE SUNDAY POESY: Opportunities, Events and Other Information and News

PBD - blogroll

CONTEST

Opportunity Knocks

TWO OF CUPS “is excited to read for its annual chapbook contest between April 15th and June 15th. One winning manuscript will be chosen by 2015 winner, Raegen Pietrucha. Winner will be announced August 1st, the author receiving 25 copies of his/her book. Two finalists (chosen by our editor) will receive 10 copies of his/her book. A list of honorable mentions will receive recognition on our website.” Details HERE

CALLS FOR SUBMISSIONS/JOBS

Opportunity Knocks

ESKIMOPIE “is always seeking high quality poems, rants, haikus, lyrics, essays, short fiction, scripts, reviews, links, artwork, photos, collages, jokes, announcements of new pubs and readings, wet dreams and whatever else you can think of. It does not matter if your work has been previously published or if you have read it at open mics a hundred times, chances are that hardly anyone has seen it, so if you send it to Eskimo, more people will see it. It does not matter what you write about, all Eskimo wants to see is good rhythm and diction, music and magic.”  The magazine is HERE. The submission guidelines are HERE.

THE EXAMINED LIFE “is a Literary Journal of the University of Iowa Carver College of Medicine is a new print journal published biannually by the Writing and Humanities Program at the Carver College of Medicine. A forum devoted to literary prose and poetry, the journal intends to deepen and complicate our understanding of healthcare and healing, illness, the human body, and the human condition.” Its editors are currently reading submissions for the next issue.  Details HERE

LOCAL GEMS POETRY PRESS is accepting poetry submissions through July 1st for an anthology of poetry by Generation Y (anyone born after 1982). Details HERE.

You might tuck this away to hold in your memory bank for 2017: Local Gems hosts an annual chapbook contest HERE for the 30 poems in the 30 day NaPoWriMo (National Poetry Writing Month) in April. NaPoWriMo is held in April to coincide with National Poetry Month.  Details on NaPoWriMo are HERE.

THE SKINNY POETRY JOURNAL (TSPJ) “is a literary journal that is dedicated to The Skinny poetry form. The point of The Skinny, or Skinnys, is to convey a vivid image with as few words as possible.”  Check it out HERE.

BEAKFUL/BEQUÉE posts one work a day. Details HERE … with submission guidelines in the blog roll on your right.

HUFFINGTON POST – at this writing – has positions open for writers and photographers in London and New York.  Details HERE. You can pitch your idea for a blog HERE.

SCRIPTED matches writers who are able to develop content for blogs, Twitter, Facebook, Videos and so forth with marketing professionals who need content. Details HERE.

CHICKEN SOUP FOR THE SOUL welcomes the submission of stories and poems for possible publication in upcoming books.

  • Best Mom Ever, Deadline Sept. 30, 2016
  • Blended Family, June 30, 2016
  • College Student Stories, July 31, 2016
  • Curvey and Confident, June 30, 2016
  • Dreams and Synchronicities, August 31, 2016
  • Parent to Parent, July 31, 2016
  • Stories About Cats, October 31, 2016
  • Stories About Dogs, October 31, 2016
  • Stories About Teaching and Teachers,  June 30, 2016
  • The Spirit of Canada, August 31, 2016

Details on each HERE.  Submission guidelines HERE.

THE BeZINE theme for June 2016 is “Friendship.”  Submit by June 10 to bardogroup.com. Submission guidelines are HERE.

THE NEW YORK TIMES provides direction on how to submit an Op-Ed feature HERE.

KUDOS

erbacceprize 2016 long-list (100) was announced and The BeZine Contributing Writer, Liliana Negoi, is on it along with Rueben Woolley who was a feature poet in April for poetry month. View the complete list of poets HERE and see who else you might know.  erbacce press is a cooperative publisher. Learn more about it HERE.

EVENTS

THE NEW YORK CITY POETRY FESTIVAL is scheduled for July 30 – 31 from 11 a.m. to 5 p.m. Founded in 2011, this festival is an annual two-day gathering on Governors Island located in New York Harbor. It features poetry readings; a fair of booksellers, artists, and craftmakers; and special events for children. Details HERE

47th INTERNATIONAL POETRY FESTIVAL ROTTERDAM, THE NETHERLANDS is scheduled for 7-11, June 2016. Details HERE

DR. LOCO’S 75TH BIRTHDAY: TRIBUTE TO JIM PEPPER attention San Francisco Bay Area Jazz fans, Yerba Buena Gardens Festival, 780 Howard Street, San Francisco June 5, 1 PM – 2:30 PM

100,000 POETS FOR CHANGE * Peace, Justice and Sustainability.* Be a mover and a shaker and let the world know that POETRY MATTERS!  September 24, 2016. Link HERE for info and to sign up. Or hook-up with Co-founder, Michael Rothenberg, on Facebook HERE.

NORTHWEST FOLK FESTIVAL: Popular storyteller Naomi Baltuck (Writing Between the Lines and The BeZine) and her husband Thom Baltuck are performing this weekend (Memorial Day Weekend, May 27-30) at the Northwest Folk Festival in Seattle. The performance schedule is HERE.

REVIEW

31ErDqI4OJL._SX310_BO1,204,203,200_MICHAEL ROTHENBERG’S MURDER (Paper Press Books, 2013) was reviewed by Tim Hibbard in the March 2016 issue of the Journal of Poetic Research. “Through the eyes of a private journal writer, poet Michael Rothenberg reports on the continual worldwide injustices, tragedies and killings we are forever made to bear witness to on the streets and via the media. What can be done? With compassion and humor, Murder begins the investigation.” from the book cover.

This day belongs to panic
Jets & 7,000 reruns of suicide
Anthrax in Florida
India hijack hoax
Russian plane downed
320 million dollars of U.S. aid
goes to the Afghanis
Ten killed in Palestinian-Israel clash
A bus driver’s throat is slashed
Black slippery rot of fallen walnuts
On the step

– Apocalyptic Yearnings, Michael Rothenberg, in Murder

PUBLICATION

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 “The story of Eve has been, more often than not, interpreted by men. Eve has been presented as impulsive, disobedient and ignorant. But what if Eve were the real hero and mother of us all? Where would we be had she never looked for knowledge, asked the important questions, challenged the powers that be? In this beautiful collection of over 40 New York women poets, the strength, vitality and unique voices of women emerge to answer some of these questions. Energy, savvy, wisdom and power emanate from these poems, both individually and as a collection. The women whose work has been anthologized in this collection are as bold as New York, as brave as Eve. Not content to have their stories told for them, these poets grab the apple with both hands and tell it themselves. Grabbing the Apple is a powerful an amazing resource for any reader or student who wants to explore an in-depth selection of work from some of New York’s finest and strongest women poets.”

Word from Terri Muuss is that this long awaited anthology  – Grabbing the Apple (JB Stillwater Publishing Company, 2016) – is out and available through Amazon. Congratulations to Terri and to Editor M.J. Tenerelli and all the contributing poets.

A TIDBIT OF ENCOURAGEMENT

THE POET BY DAY SUNDAY POESY

Submit your event, book launch and other announcements at least fourteen days in advance to thepoetbyday@gmail.com. Publication is subject to editorial discretion.