" intricate and masterful" "rich and plucky" "wonder-inducing"
"articulate and beautiful" "lucid and intelligent" "an uncommon eye"
Great News for Poetry Instructors:
Recent and Upcoming Publications:
Oolichan Books has accepted my collection of found poems, Waiting for the Albatross (composed using fragments from a diary my father wrote in 1936 when, at 21, he embarked on his first job as a deckhand on a tramp freighter). The book will include photos from my dad's trip.
"Needle at Sea Bottom" (from "Tai Chi Variations" in Suddenly, So Much) was reprinted recently in the US magazine Lilipo and the Canadian journal Germination (ed., Allan Cooper - special Robert Bly issue).
Four of my poems ("Autumn Pantoum", "Crows", "Leaving", "Change") are in Force Field, the exciting new anthology of 77 BC women poets (ed. Susan Musgrave), recently published by Mona Fertig's Mother Tongue Publishing.
"Crows" from Suddenly, So Much, is in The Pacific Poetry Project anthology Alive At The Centre, published by Ooligan Press.
"Wild & Unwieldy" from Cedar Cottage Suite is in A Crystal Through Which Love Passes - Glosas for P.K. Page (ed. Jesse Ferguson, just out from BuscheckBooks).
"Qu'Appelle", one of the triolets from my recent chapbook Level Crossing (Alfred Gustav Press) will be in the anthology The Poet's Quest for God (ed. Todd Swift and Oliver Brennan, Eyewear Publishing) in 2014.
Poetry fascinates me. The math of it - that meticulous balancing of ideas, through image, metaphor and other devices; and the music of it - meticulous, again, that selection of words and their order until they sing. It's the kind of fascination that makes it not just possible, but essential and delightful (even when agonising) to spend hours, days, weeks and more honing a poem until it's as close to right as I can get it. Then, after all the scribbling and tossing away and starting all over again; after all the tinkering and tweaking - the relief (if I'm lucky) of still being moved by the finished work. (As Horace said, "If you want to move me to tears, you must first feel grief yourself.")
As a reader, these same things fascinate me - but in reverse order. First, the elation when my initial experience of a poem is its unique melding of sound and sense so that, one way or another, it opens my heart, my mind, my eyes. Then, the fun of sussing out the technical devices the poet used so well they slipped modestly into the background, allowing the poem as a whole to work its magic.
(Heather Rhodes photo)
My latest full-length books are: