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dumbfoundry

Poetry news, poetry blogs, poetry magazines, poetry journals, poetry sites, poetry links, etc.

Bryan Thao Worra's "Zelkova Tree"

Saturday, August 29, 2009
Tammy Ho Lai-ming:
"I vividly remember reading "Zelkova Tree", the very first poem we published in Cha, for the first time. It triggered my memory of reading Ovid’s Metamorphosis. In Book IX of that book, the nymph Dryope unknowingly plucks a flower of the lotus tree, which is actually another nymph (Lotis). Because of this crime, Dryope is turned into a black poplar. Before the transformation runs its full course, however, she has enough time to utter a message for her son, warning him to be cautious: ‘let him fear the pool, pluck no blossoms from the trees, and think all flowers are goddesses in disguise!’ (Ovid’s Metamorphosis Book IX, 380-81). Apart from pointing out the changeability of all life forms, one can also say Metamorphosis is highly eco-conscious. All these plants and animals are incarnations of others; you are imprudent to poke, pluck and part them, for you cannot be sure what they really are: they may be someone you know!"

Erykah Badu on Def Jam Poetry

Friday, August 28, 2009

Profile: Wendy Cope

Thursday, August 27, 2009
Were you at all conscious in the early stages of your career that poetry was an overly male world and, if so, how did you manage to get around that? Does it matter that we now have our first woman Laureate?:
Wendy Cope: Yes to the first question. Writing parodies of male poets was one way that I rebelled against male ideas about how we should write. The first poems of mine that got published were literary jokes that made male poets laugh. Some of them probably think those were the only good poems I ever wrote. I don’t think the gender of the Poet Laureate is important. I don’t think the Laureateship is important. I am on record as saying that I would be happy to see it abolished.

Call for submissions on 'Longing'

Wednesday, August 26, 2009
Kurungabaa: a journal of literature, history and ideas for surfers

[Wow, I don't think I've encountered a literary journal with a surfing theme before. That's new. —Ivy]

Bread Loaf Writers' Conference, craft classes

FEELING TENSE: THE PAST, PRESENT, AND FUTURE AS RHETORICAL STRUCTURES IN POETRY with C. Dale Young [US]:
And straight off, he mentioned how, as an editor, he wished he did not see quite so very many poems in the present tense--he wanted to see poetry that goes "beyond the lyric moment of now." So how do the tenses work? "I was" gives us rumination, recounting. "I am" gives us immediacy, now (and, I would add, urgency). "I will be" is impending, a prophecy. He advised us a revision technique: try rewriting the poem in another tense entirely. This doesn't have to mean it is correct or there it will remain, but we might open up some possibility, some tension, or find some holes we might not have otherwise noticed.

My 5 most awkward poetry reading experiences… and how I dealt with them.

1. The everyone-walked-out poetry reading.

Win a Copy of 'In the Palm of Your Hand: The Poet's Portable Workshop'

Note: This contest is open only to those living in the United States or Canada.

How many passwords does Sharon Olds have? Or Seamus Heaney?

Joel Brouwer:
The TIME Magazine in the dentist’s office is wondering what happens to your cloud-borne data when you’re dead. A relevant question for all of us who a) compute and b) are mortal.

Double Vision

Saturday, August 22, 2009
What is it with poets and doppelgängers?

Poetrysky Quarterly

Wednesday, August 19, 2009
...is fresh.

More about Knit a poem (Poetry Society UK)

Interview with Judith Palmer, Director of the Poetry Society:
"To mark our 100th birthday I wanted to think of a project on a grand-scale which lots of people could participate in – something that was about Poetry but which also summoned up the idea of ‘Society’ – to reflect all the thousands of people who’ve kept the Society going since 1909.

It being Christmas, the Christina Rossetti poem came into my head “What can I give him, Poor as I am? If I were a shepherd, I would bring a lamb;” So – what skills could I offer the centenary? – I thought – 'I CAN KNIT'."

NOÖ Journal

Tuesday, August 18, 2009
... is fresh.

Poetry profit, prophecy

Johanna Featherstone [Australia]:
The current project we are undertaking, in partnership with Corban & Blair, has had myself and the Red Room fellows, inviting poets we have previously commissioned in part Red projects, to allow us use of their poems on these cards. As we had no funds to pay the participating poets to write a new poem or, at this stage, to pay them for a second use of their poem, poets had the opportunity to decline. So, in the case of these cards, Red Room is promoting the poets work out of a devotion to quality Australian poetry and a we have a commitment to providing poets with new audiences and new modes of publication.

ukiaHaiku festival

Ukiah is a northern California town whose name, backwards, spells 'Haiku.' In 2010, the City of Ukiah will hold its 7th annual haiku contest and festival.

Sign language poets at Bristol Poetry Festival

Wednesday, August 12, 2009
Sign language poets Paul Scott and Richard Carter:
Come and enjoy the beauty and power of signed poetry and experience its pleasure and visual impact with two of the most prominent sign language poets in Britain - both with International reputations. Interpreter Cathryn McShane will sign introductions. It will be fun and you do not have to know anything about sign language to enjoy their performance.

Poets On Twitter 2.0

Monday, August 10, 2009
Collin Kelley's updated list of poets who tweet

Writing Workshop with Thom Moon

Rosemary Nissen-Wade:
Thom starts talking. His voice is soft but clear. His words move like an impromptu dance. Liz and Kim (the Cathouse Creek Duo) play music behind him. He tells us, “Write down what you love.”

I write:

Trees. Song. Waterfalls. Andrew. Chocolate. POETRY! Home country. Birds. Purple. Red. Hot sauce.

He keeps talking. He passes out newspaper pages. "Find a word," he says. "Write it down." (That’s when I find “hot sauce”.) He hands round books, photos, CDs with evocative covers. “Respond!” he tells us, and, “We only have a short time together. Write while you’re listening.” We find that we can.

We write, he talks, we talk, the music plays, we read out what we’ve written, he recites a poem that responds to our words, he reads out poems by other people...

“Write about one of those things you wrote down, write about what you love.”

No Tells' FREE Tarot Reading or Dream Interpretation Offer

Saturday, August 08, 2009
No Tell Books is trapped in the same pot along with hundreds of other small presses. We're all jumping up and down yelling, HELP US, BUY A BOOK, WE’RE MELTING!

Updated: Poet Steve Fellner ups the ante by promising to solve a certain mystery...

Foundling Review

...is fresh.

BOXCAR Poetry Review

Friday, August 07, 2009
...is fresh.

Jeff Encke's "Most Wanted: A Gamble in Verse"

Wednesday, August 05, 2009
"During the spring and summer of 2004, I wrote, designed, and printed a book of poetry on a deck of stylized, casino-quality playing cards."

Ten Questions for Poetry Editors: Mary Biddinger

What drew you to editorial work in the first place?
"I believe in a version of literary karma where the good you do for others somehow comes back to help you. There could be a practical explanation for this phenomenon, such as how increased exposure to poetry through editing can positively affect an editor’s own poetry, but I prefer the mystical version of it. I was drawn to editorial work not for the thrill of playing god, but for the potential the job has to make people happy. I also feel quite passionately about poems, and wanted the chance to advocate at length for a poem that struck me."

Oxford: Sex wars

Tuesday, August 04, 2009
Sally Evans:
"It is very important in society who get to be the poets. Until about 1980 women poets were universally thought to be a bit odd. Edith Sitwell, Stevie Smith, Emily Dickinson were typical recluses or eccentrics who lived without men. Younger women who didnt grow up against that prejudiced background, have no idea how awful it was. We won't even start on the Ted and Sylvia myth but you can see how it fits."

Brieflings

Monday, August 03, 2009
"With reviews, it isn’t easy finding a good mix for a magazine."

Orbis: Special NW/NY Issue

Call for poems:
Where will your imagination take you –
The North West Passage? North West Frontier? North-North-West?

Well, don’t get too carried away because what we’re after is: the North West of England.

And New York, of course.

Maximum 40 lines, preferably 4 by post with SAE. Or 2 via email: carolebaldock @ hotmail.com

'Softblow': an update from Cyril Wong

SOFTBLOW Poetry Journal is back at a new location.

The Plinth

Karen Head:
"When I found out I would have a slot on the Plinth, I knew I wanted the hour to focus on the work of others. The One and Other Project was already (in my understanding) based on the idea of collaborative art: 2400 different ideas about how to 'use' an hour in a public space. Add to this my interest in digital poetry, and you'll get the technology connection. I knew early on that I wanted to do an Exquisite Corpse poem using the internet, but I was troubled by the technology failure possibilities. Even with a variety of contingency plans, I was terrified that I'd be standing there for an hour unable to communicate anything. And then the journalist from TIME called, and suddenly any potential failure seemed more consequential."

The Relaunch of Read Write Poem

Sunday, August 02, 2009
Read Write Poem gives you the opportunity to connect with poets, share your work, discuss poetry and be part of a unique community. We publish poetry-related features, columns and news. We promote the reading, sharing and discussion of poetry. And we share poetry activities and poetry prompts. As of July 2009, we also offer member profile pages, groups, forums and other interactive features to give members an enriched community experience.

Poetry/Not Poetry

Saturday, August 01, 2009
Robert Archambeau:
Where do we draw the line between what is poetry and what isn't poetry? Or, more specifically, what makes a poem a poem?

otoliths

... is fresh