Tag Archives: publication

Book news!

Here’s a bit of glad tidings. My manuscript The Red Queen Hypothesis won the Prairie State Poetry Prize and will be published before the end of 2023–maybe even by the end of this summer! It’s thrilling to have won an award like this.

In fact, I should be jumping up and down with glee that RQH finally will see print, as it has taken me numerous submissions, two acceptances that did not come to fruition, and a considerable number of pauses to reassess the manuscript. But my initial feeling is more of relief than elation. Relief that now I can turn all of my focus to newer work: a manuscript nearly completed and one that I’m just starting to collate and imagine. Well–not all of my focus in those directions. There is the work of promoting the new book, work that I find difficult and challenging because it’s not really in my wheelhouse. Highland Park Poetry is a tiny independent non-profit press and doesn’t have the resources to do much promotion; Jennifer Dotson, Founder & Creative Engine behind the organization, runs several contests, produces a newsletter, and hosts a Facebook page of contributing poets. She also hosts a poetry podcast and at least one reading series…a busy person, working on a small budget. People like her and Larry Robin are the guardian angels of poetry in the USA. Many thanks, Jennifer. I’ll do what I can to promote my book.

There may be reading events in my future this year. If so, I’ll try to post them here as well as my fall-back social media framework, the wretched but still occasionally useful Facebook.

As to new work, grateful to report that it is coming along. I have a small stack of potentially interesting/workable drafts in my file. The month of January wasn’t all dearth and chill and lack of imagery or ideas. Granted, there are days and there are days. I find, though, that I am more patient with myself during low or no-motivation times than I used to be. I kind of hate to rack that up to maturity (oh ye gods! have I become “a mature woman”?)–but age might be a contributor. I feel no compelling reason to push myself past my physical and emotional limits anymore because it isn’t worth the repercussions. Given who I am and the stage of my career and life, there’s no need to prove my worth to anyone, to elevate my status as a “serious writer,” to grind the wheels of ambition to make other people take notice.

I’m an introvert. I don’t really like being noticed. But I do like it when people read what I’ve written, when what I have put into words has a chance to filter into other minds and other emotional frames. It’s entertaining and pleasant to imagine fellow human beings might sit quietly with a book (or screen) and consider, in their own minds, what I have observed or invented. If they don’t like it, that’s okay. At least they are reading. That’s valuable in itself.

Forthcoming

News!

Cover preview: 1980s Zine-style graphics

Okay, I’ve had some setbacks in the area of publishing recently. But–another chapbook is in the works, and here is the cover reveal, a graphic throwback to the early 1980s when photocopied zines were abundant and eccentric, which suits the eccentricity of the collection.

Many thanks to the folks at Moonstone Press in Philadelphia, especially to Larry Robin, who has been the resident angel of poetry events, books, and publishing in Philadelphia for decades (and I do mean decades). I almost referred to him as a poetry maven, but he’s more of a guide and stalwart in many ways. (However, I love this definition from Vocabulary.com’s dictionary: The word maven comes from the Yiddish meyvn, meaning “one who understands.” But to be a maven you have to more than just understand a topic, you have to know its ins and outs… You don’t become a maven overnight. That kind of expertise comes with an accumulation of knowledge over the years.) At any rate, after closing Robin’s Bookstore–an indie-publishing-supportive bookstore he operated for many years–Larry started the Moonstone Poetry reading series, the Moonstone Arts Center, and has been behind many other benefits to the poetry-loving community, including virtual and in-person readings and a press that publishes anthologies and single-author collections.

More about the publication date, where to reserve copies, readings, and about the book’s theme and histories will come later. In the meantime, excitement and gratitude.

Limbo

Many years back–let’s say decades–my friend David Dunn and I briefly became small press chapbook publishers. It was not an easy task at the time, and expensive; but I worked at a type shop and could get the type set for free and a discount on the printing. We dubbed our concern LiMbo bar&grill Books. It was decidedly a labor of love, but we published four chapbooks and two broadsides before packing it in. The name emerged from David’s postcards and letters to me, in which he’d sometimes begin “Greetings from the Limbo Bar & Grill.” We were poets in our early 20s, underemployed during a recession, without any network to universities or well-connected writers. It felt like limbo.

Forty years later, dear David is dead; I have had modest success as a published poet since then–not enough to move me past avocation status–and the entire globe spins in limbo as pandemic, climate crisis, war, and oligarchies combine to keep things as interesting and unsteady as ever they were. It feels like limbo.

Feels like limbo on the publication side, too. Because my poetry collection that was supposed to be in print by 2020 seems to be indefinitely on hold. Covid interfered, the contract never arrived, and I’m beginning to wonder whether my emails are ending up in the publisher’s SPAM filter. It’s not surprising that a small independent press–in most cases underfunded and understaffed–might lose track of, say, a manuscript or two during the hassles of the pandemic protocols and all that has wrought.

Or perhaps the press has decided not to publish my book after all. The oft-rejected writer who lives inside my head supposes that could be the case and mourns, assuming the worst.

Now, I’m in a quandary. I wonder whether to resubmit the manuscript elsewhere. Is that okay to do, since there hasn’t been a written contract? Clearly the book is publishable, since it was accepted in the first place. I have a much newer manuscript I’ve been re-compiling and re-ordering (and revising). Do I focus on that, instead? I don’t quite know how to proceed. Yep: limbo all over again.

~

[LiMbo’s first chapbook, ca 1982; Fra Angelico’s “Christ in Limbo,” ca 1441] https://www.wikiart.org/en/fra-angelico/christ-in-limbo-1442

That need to publish? –eh…

The hazel’s buds are about to open, first yellow of the season; red-winged blackbirds have returned; this morning, several flocks of snow geese in Vs high above me. Then, a brief but crazy-wild snow squall. Yes, it is February.

What I find myself assessing lately is “the need to publish” thing. I feel a reckoning coming on, personally, in which societal changes are implicated–and my age, as well.

Let me backtrack.

When I first started writing poetry seriously (reading, studying, crafting, workshopping), publishing was a paper-only endeavor that involved typing and retyping poems, sending them with SASE (self-addressed, stamped envelope) to various literary magazines and journals both Major and minor, and waiting for up to a year for rejection or acceptance. The acceptances were necessary if I wanted a book publisher to take my work seriously, or to have an academic institution consider me as worthy of hire, or to apply for higher-stakes literary grants and opportunities. The game, as it were, operated on those hierarchies: journal publications, chapbooks, solo collections, college stints.

I did a bit of that, though not enough, I suppose. I got my chapbooks and solo collections (see books here) and a fair number of poems in actual (and, now, virtual) print. But ambition ain’t exactly my middle name; my college work has not been tenured and doesn’t fall under the creative writing category–I run the writing center at my university, where it’s all about grammar, spelling, documentation, essay structure. I enjoy the work, but it is not poetry.

Back to poetry publication: the new assessment is about whether I care anymore.

I’m theoretically close to retirement, though academia lets us continue to our dotage if we wish. [See The Chair.] Will further publications, or higher-status publications, enhance my position at the university? No. That ship, as the saying goes, has sailed. Anyway, it was more of a daysailer than a cruise liner. And will further publications, online or in print, keep me in royalties in my retirement years? You jest, my friend! Poetry adds little to the income balance sheet.

Furthermore, the current state of literacy requires social media presence; virtual journals abound, and many of them are fantastic (seek them out! read them!). Their editors respond slightly more rapidly than lit mag editors did in the 1980s, and though there’s sometimes a submission fee, the price has not escalated much more than postage has (and is in some cases lower). But submitting to journals even online nonetheless consumes a sort of energy and time commitment that not all of us have. Or are willing to make to keep ambition going.

So. My current assessment suggests I’m past the point where it matters much where the poems appear, although I personally love poetry BOOKS and will continue to get my books in print if I can. This assessment allows me to say, “I hereby forego Submittable, etc., for the most part and will send out poems to journals if asked, and otherwise…” Hmmm. Otherwise, what?

Maybe post them here? As I did two years ago during National Poetry Month. I could do that again. Something to consider. Since I no longer have much to gain, I could at least continue my audience here.

photo: Hernán Gonzalo Pereira Palomo

Readers, if you want to weigh in on this concept, I’m all ears.

Journals

While re-reading May Sarton’s At Seventy: A Journal, I recalled reading this essay about the book, by Jeffrey Levine, in June. I first read At Seventy when I was, I think, 40 years old…I recommended it to my mother-in-law, who–like Sarton–lived alone and loved to garden. I now recognize in Sarton’s journal aspects of life and aging and creativity that I had not thought much of when I was younger–at 40, I felt envious of her freedom as a single woman. I was raising young teens, managing a busy household, working on a master’s degree, feeling I had no time to myself.

One thing that interests me about Sarton is her decision to keep journals intended for publication, beginning I think with her journal about recovering from cancer, though she had written at least one memoir before that journal.

Another poet who wrote journals intended for publication was the Japanese writer Masaoka Shiki. Perhaps his most famous diary (in the West, at least) is “The Verse Record of My Peonies,” thanks to a translation by Earl Miner. Shiki kept writing haiku and haibun, as well as reviews, for the newspaper even as he was slowly dying of tuberculosis. His journal entries (there are others) were intended for readers.

My journals (and I have kept one ever since I was ten and read Harriet the Spy), however, would not make good reading; I would be embarrassed if they were published, especially unedited and unrevised, and no one would feel inspired, delighted, or edified by them. The concept of writing a daily journal intended to be read seems either brave or a bit dishonest, like a persona. Then again–many early weblogs were exactly that: daily public journals read by whatever online audience stumbled upon them. And perhaps this blog acts as my public journal, mostly about what I read, what’s in the garden, and what I’m teaching. Those pursuits, made public, do not mask who I am. They are the things I choose to reveal.

I don’t know if that’s different from a social media persona. But here’s a sleeping cat to look at while I ponder.

IMG_6587