Rewriting Ovid

...as if
by Louise Robertson


Journal: Sep 09, 2010

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Past Entries: July 2006

Monday, July 31, 2006

I wrote "Who [sic] to Blame for Bad Poetry" in May 2004 and didn't read until a blues and poetry open mic in July 2006. Joanna Schroeder thought of a great "game" for it. I know this list is hugely flawed (1st step, note well: there are only whites in this poem). Please help me fix it. See if you'd like to add to it. Or if you have a problem with how I've summed up the entire career of one of your most favorite (or least favorite) poets, please add your correction.

The poem is behind the cut.

[more]

Sunday, July 30, 2006

Reading someone's book of poetry is sometimes like reading someone's book of comics. Depending on the nature and quality of the work at hand, sometimes it just gets to be too much of one style. That's true even if it's a style you like -- albeit in pieces.

Ever read "Cathy" by Cathy Guisewite? In my extreme youth and with a book borrowed from my sister I read an entire comic collection of "Cathy" . In pieces, it can be an amusing comic. But when you get a whole bunch at once you begin to think the person who penned it is way too obessed with food, weight, shopping, and hair to be anywhere but the ledge of an 15 story apartment building in some medium-sized generic American or Canadian city -- not the one your living in, someplace less cool for sure.

That's how I feel sometimes reading a book of one person's work. It might not be food and weight, but the obsessions can become equally heavy. I was re-reading Anne Sexton (Love Poems) and this feeling did not come over me. I was re-reading Margaret Atwood (Morning in the Burned House) and this feeling did not come over me. I looked at The Gold Cell by Sharon Olds and decided to wait. (Yes, I'm withholding the name of a book in which this did occur for a future review of some kind.)

It's also true that sometimes there's only one good fold-down-the-corner poem in a book. That seemed to me to be true of a poem in David Wagoner's book Good Morning And Good Night which I recently read and left at work so am at a loss as to the one good poem's title (Amazon.com doesn't show the index for this -- I looked). Corner folded down, I went after the rest of the book expecting to be astonished and I simply don't remember the rest, except to say what you've already guess: I wasn't astonished.

Here are two measures to use against books of poetry -- the "Cathy" yardstick and the folded corner method. (I know Joanna Schroeder folds corners, I bet she can say how much she likes a book by this measure.) They also why I like to read poems in isolation a lot from websites that promote a piece of the collected obsession of a group of poems or poems that are the folded corner poem in a collection.

But this all relates to how poetry slams can really showcase an author by avoiding the pitfalls implied above. It's really hard to see that every poem is a alcoholic binge drinker's poem, oral sex poem, or cry for acceptance poem if you only see one or two. They often shine more in a slam because they are alone. Also, the poet has often tried to pick that fold down the corner poem.

Saturday, July 29, 2006

My "Poem of the Day" project needs to grow into something bigger. That's one of my next projects. I'm still meditating on it, but watch this space to see for more information.

Thursday, July 27, 2006

Re: Cultural Appropriation

In the spring I was at a local authors day in Delaware. One of the biggest benefits was meeting John Kneisley, a poet who doesn't get out much anymore in Columbus, but we seemed to share a lot of the same opinions. Ahem. Snip the opinions for now. He even bought one of my chapbooks. Nice guy.

That was back in April, and today he wrote me an email. He was surprised at the content of my chapbook and thought it was not for his sex or age. (Aw, man, I didn't mean the chapbook to be like that! Cough. I do understand that folks of my mom's generation might not be all that into parts of it though.) Then he went on to tell me how much one of the poems "Eve's Curse" meant to him.

If you didn't know "Eve's Curse" is a "racism" poem. Not a "race" poem, it's a "racism" poem -- and from a white person. I had always intended to write something like that, but didn't think my voice would be particularly valuble. Who cares what some priviledged white chick thinks? I have absolutely nothing earthshattering to say.

But "Eve's Curse" was one of the poems in which I trust that if I tell the truth, people will get it. Judging from John Kneisley's response, they do get it.

Last night was the Old School New School Slam -- a great idea cooked up by Scott Woods in which folks from previous National Slam teams go up against the current National Slam team.

Sure the room was pretty full -- full enough to make me nervous about open mic. (Gees, I get nervous over open mic? WTF?) And yet it still for the most part held a sense of comaraderie.

Open mic: A good selection, some new stuff, some covers, I can't remember all the name of everyone who read. I read "Crafters of Truth" -- I stumbled, went too fast! Ah, well, let that be a lesson to me, ie, try harder.

Old School New School: Kim White MC'd. The New School invited Dave Noble to grace their team as their 5th contestant. There were thrills and chills aplenty. The Old School won it. I have friends on both teams. I love my friends!

Next week, Writers' Block sends off its current team to the Austin, TX, national competition with a special night of Writers' Block on the 1st Wed. instead of the 2nd Wed. Do come out to play Aug. 2, but don't come out to play Aug. 9. (Columbus Music Hall, 734 Oak St. 8 pm. Wed. Aug. 2. $5.)

On the way home, I realized I'm the poetic equivilant of a policy wonk. I could listen to people talk about poetry, poetry slams, poetry organizations, publishing, venues, advertising, audiences, and features all the live long day.

Wednesday, July 26, 2006

I heard a story this morning on NPR about how some employers where provided space for naps. I could use a nap right around now. Maybe I should have taken that iron pill this morning.

Anyway, part of the segment talked about "sleep boutiques" (I'm too tired to look up that word boutique, I hope I spelled it right). At these facilities you can go find a comfy recliner, a white noise machine, and a timer. (I guess that maps to your own bed, a lack of disturbing sounds, and an alarm.) Doesn't this sound like a way to market sleep now? Marketers have gotten us to eat more so we buy more food. They've gotten us to pay for water. They've gotten us to buy more products for our babies. Now, they're figuring out how to get us to pay for sleep. Gees.

Monday, July 24, 2006

I have been thinking of the types of poems that do well in slam. As an extension of that, I've been thinking about the way some poets have only one kind of poem. As an extension of that, I've been thinking about types of poems. Here are some:

* Lifetime movie-of-the-week poem -- this is actually quite common. One of my favorites.
* Three's Company sit-com poem -- not as common as the Lifetime channel poem, but there's adequate representation of this kind of poem. Do you know what I mean? It's a predictable, jokey slapstick kind of poem. Maybe there's a reason Three's Company is syndicated -- people like this stuff.
* The stand-up comedy routine poem
* Political Rant -- cf Taylor Mali's how to write a political poem
* Repeated Active Verb Poem
* ER -- drama drama drama. You know, I used to like watching ER, but I could only ever watch any episode once, more than that and I would be cringing through the whole thing. The same goes for these poems.
* I'd-Rather-Be-A-Rapper-But-There's-No-Open-Mic-For-That poem.
* Porn channel
* I-like-black-women/men poem
* Poems that rhyme in a too facile way -- ahem, I mean using -ation as a rhyme. Really, is it that hard to come up with a rhyme that you have to resort to imagination, exaggeration, consternation?
* The confessional poem -- ah, how you're talking a whole school of poetry, with sub-classes of its own. (I wrote a post-confessional poem last week that I think is kick-ass.)

Of course I don't engage in any of these. (Ohahahahahah.) What else, hmmm?

Friday, July 21, 2006

You know what's great about this journal? It's not the journal. It's the comments -- which I guess is actually the visitors.

I wrote one little note about how I should do a little less navel gazing and look who responds. Anne Sexton! (Anne was probably dressed as a pirate that morning, but Anne Sexton. No less!) And then some other famous poets. Wow!

Prior to that, I wrote about my strong feelings about local politics and I get two waves of responses -- one of which disagrees with me! Now that's great content! And someone even chimed in later.

Recently, I put up a flyer about an upcoming event and look -- a discussion about backgrounds and fonts.

Wow. My readers rock. And I don't even need to say something outlandish to get these kinds of responses.

I was just telling someone how sick I am of people who alway talk about big name poets as if they're best friends forever (BFF). But, look Ma, I think I've got some big name poets commenting right here. You too can be part of this illustrious group. Just click on the comment link and make something up. It simply doesn't matter what the entry itself is about.

(That is not sarcasm. Really. I mean it. For sure! O, no. This whole post sounds sarcastic. Crap. I'm in a sarcasm loop. Ah well, you all will think what you want anyway.)

ttfn.

Wednesday, July 19, 2006

Monday, July 17, 2006

I have scheduled my first session of the Rewriting Ovid Workshop and am gearing up for more. Would you like to improve your poetry writing skills? Would you like to improve your poetry editing skills? Or would you like to see just what I do to poems? Then this workshop is for you. Now you can:

Read the page I created for it with some of the parameters for this workshop:

[ Workshop Direct Link ]

Or contact me at loui526@yahoo.com to find out more.

Friday, July 14, 2006

Hi all. I want to point out an entry written last week. It got some attention at the time, but the main target of that entry did not know about it until recently. In other words, today Ed posted a comment on my entry discussing the exclusivity contract with Patricia Smith. I replied in that thread and said I would put a new entry up so it wouldn't be missed.

[ Here's the link. ]

Thursday, July 13, 2006

NOTE:For those of you who missed it, scroll down two entries for the one where many dead poets left comments.

About last night:

I love open mic. More specifically, I love Writers' Block open mic. It's the best one in town. Great poets, diverse voices, supportive people, friends of mine. Last night was a Writers' Block open mic -- I hadn't been going to these very often because of scheduling problems. For the first time I got to see Rare, a friend of Vernell's and member of the Cols. Black Pearl Nats team. I can see why she's on that team.

It was kind of mellow night. I read "Number 3" and then later "In Praise Of" which I accidently called "Silence" which was its original title. We heard a lot of new work from others. It was a good reading all in all. And now I am tired because of no good reason except the kids got me up early.

PS Saturday night I went to a blues poetry open mic -- also affliated with Writers' Block, but produced by Dan Thress. I never noted that I went, nor that I read a virgin poem from 2004 called "Who (sic) to Blame for Bad Poetry" that I added to on the spot. That was a good night too, even though I missed the first part of it. I really liked the music and the vibe. Here's a recap by Scott Woods.

Wednesday, July 12, 2006

"An asshole who makes great art is an asshole who makes great art; but an asshole who makes lousy art is just an asshole." Jim Lewis, from Exploit and Click

Tuesday, July 11, 2006

Well, I'm not sure what effect I was after when I posted that last entry. Let's say it was a way for me to acknowledge some extreme emotions without giving out details. I am entitled? Sure. Should I keep the navel gazing to a minimum? Probably.

I was going to write something about slam and the TV sitcom "Three's Company" wasn't I? Perhaps tomorrow. Stay tuned.

Monday, July 10, 2006

Maybe not everybody. Maybe not hate. I wish I hated everybody. Gonna write now.

Friday, July 7, 2006

When Black Pearl advertised the featured poet Patricia Smith as exclusive (something I missed because I did not peruse the email closely enough), someone asked me if that was for real.

I now have the answer. Black Pearl asked Patricia Smith to feature; Writers' Block has been asking Patricia Smith to feature for a long time. Patricia Smith checked things out to see what kind of atmospheres there were in the two potential venues for her feature. She apparently agreed to Black Pearl's offer and is now being asked by Black Pearl not to feature anywhere else in Columbus or -- I think -- Ohio. Patricia Smith's response to this? I don't know.

I know what the hell I'd think if someone asked me to make a long trip to feature at a restaurant venue where the biggest players might not have even heard of me* and I was asked not to appear anywhere else in the area. Who comes to Ohio and just features in one place? This is Patricia Smith, people, Pulitzer prize-nominated, slam champ, National Book Series author Patricia Smith.

I think it hurts a lot of people personally and poetically:
~ It hurts Patricia Smith -- can you imagine being asked not to feature at a long-standing friend's poetry night.
~ It hurts every other venue in Ohio that would welcome her.
~ It hurts every poet and every other poetry lover who can't get to see her then.
~ It hurts the scene.
~ It could hurt Black Pearl patrons -- No one is going to see her in August if Patricia Smith pulls out because of this. "Hey look guys, call me when you have it all together."

And that is why Ed used the word "exclusive."

*Yes, I know that at least one of the bigger players at Black Pearl had never heard of Patricia Smith until I mentioned her to him.

It's time to offer the poetry workshop for real. I intend to set up small 2-4 people workshops for people interested in working on their poetry. The small groups will mean lots of interaction. There will be a modest fee. I know of three interested parties. Anyone else?

Email me at loui526 AT yahoo DOT com to get involved.

Wednesday, July 5, 2006

Something has changed in my head. I can't seem to stop wishing I could edit songs. I keep thinking things like "just-want-to-cut-this" and "just-want-to-move-that" and "needs-more-something-else" and "i-only-like-this-part-of-it." They make software for this. I could secretly get it out of my system. Maybe if I mashed-up Siouxie and the Banshee's "Israel" with something, anything else, that would help.

Back when I was in college, certain kind of women called themselves womyn (pronounced, as I recall y-men). Is it too late for me to coin a term about the written material this kind of person generally produces? I would call it wyting.

I hope I don't lose my membership.

Tuesday, July 4, 2006

This long weekend feels like a hiatus. Much has happened (and not happened) on the personal front, but on the poetry front, it's as if I am in suspended animation. I write. I submit. Suspension. Also, I have carved out plans for my next artistic steps to be added into my current prevailing theses regarding my artistic development and the development of poetry in general. Blah blah blah. You all still with me?

Am I going to state my plans? Naw. Sorry cats, but part of the plan is not to be public about certain things. I will say re-discovering Bukowski has become part of the interior development. (Exterior would be development vis a vis performance, interior would be development vis a vis my own personal abilities as a writer.)

Here's an open question: do you think someone can learn "it" if they don't have "it?"

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