Sarah Brownsberger: "A Golden Plover"

The VPR Poem of the Week is Sarah Brownsberger�s �A Golden Plover� which appeared in the Fall/Winter 2006-2007 issue (Volume VIII, Number 1) of Valparaiso Poetry Review.

Sarah Browsberger's poetry and translations have appeared in Asheville Review, Blueline, Christian Century, Hudson Review, Meridian, Salamander, Verse Daily, and other journals.

   
Tuesday of each week �One Poet�s Notes� highlights an excellent work by a poet selected from the archives of Valparaiso Poetry Review, except when other posts with news or updates preempt the usual appearance of this item, with the recommendation that readers revisit it. 

Bob McNamara: "Digging Morning Glories"

The VPR Poem of the Week is Bob McNamara�s �Digging Morning Glories,� which appeared in the Fall/Winter 2010-2011 issue (Volume XII, Number 1) of Valparaiso Poetry Review.

   

Bob McNamara's poems have appeared in two books, Second Messengers(Wesleyan) and The Body & the Day(David Robert), in the anthologies The Sorrow Psalms and The Book of Irish-American Poetry, and in a number of magazines, including Agni Review, Antioch Review, Field, Gettysburg Review, Massachusetts Review, Missouri Review, Northwest Review, Ohio Review, and Poetry Northwest. Additionally, The Cat on the Stairs, abook of poems translated from the Bengali with the author Sarat Kumar Mukhopadhyay, has recently been published by Eastern Washington University Press.

Tuesday of each week �One Poet�s Notes� highlights an excellent work by a poet selected from the archives of Valparaiso Poetry Review, except when other posts with news or updates preempt the usual appearance of this item, with the recommendation that readers revisit it. 

Photo of the Week: "View During Late-Day Walk"

I remind all interested that many of my photographs are available at a daily photo blog, which I began at the start of the year. I invite everyone to visit the blog and to click on the photographs to examine them in high resolution or to magnify them for a detailed look.

On Visiting Colleges

Since I don't have a new book out, I won't have the whirlwind travel over the coming school year. And that's fine by me. Just as this summer has been about my third poetry collection, the fall will be about planting seeds for the next nonfiction book. And in the spring of 2013 I'll be the Writer-in-Residence at Lenoir-Rhyne University in Hickory, North Carolina. It's a small town outside Asheville, but the program has a big reach--just check out their Visiting Writer Series line-up.

That said, I've been booking things here and there, and I've finalized a trio of visits to colleges over a week in October: dropping in on a creative nonfiction workshop at Ole Miss, a reading and workshop at Belhaven University outside Jackson, and a craft talk and poetry reading at MSU in Starkville. I'm thrilled to return to Mississippi, but in particular I look forward to the variety of these events, and the students I'll meet.  

These visits matter. I take them seriously. We talk about the benefits they have for the students--the advice about publishing, the chance to network--but the impression is significant for the author as well. I was just reading the Washington Post and I came across a book review by a woman whose name, to this day, makes me shudder. Why? Because she was a nightmare when she came to visit my MFA program. She critiqued the manuscript of a fiction student, which was identified as a chapter of a novel-in-progress, and in her opening salvo announced that she didn't find the protagonist likeable, thought the work setting was boring, and that the section (and by association the book) used the wrong choice of POV. This was a semester before theses were due.

There's nothing wrong with drastic suggestions, except subsequent remarks--which confused the names of characters and obscured plot points--made it clear that she hadn't read the manuscript that closely. The writer, a kind and thoughtful student who had based his character's job on months of research, left on the verge of tears. He'd come in so excited to be the one workshopped by the Very Important Writer. (We knew she was Very Important because The New Yorker had reviewed her book which, when I tried to read it after her visit, proved witty but emotionally arid.)

When you show up disinterested in student work other than as a chance to show off how smart you are or how merciless editors can be, they notice. When you check your watch, counting down the minutes until you're off duty, and you skip the round of beers back at the favorite grad student bar, they notice. When you're rude to a beloved program mentor because he or she has "settled" into the teaching life while you've gone on to publish another three books, they notice. And they have a right to notice! They've spent their money on your books, they've spent hours studying your craft, they got up at 6 AM to pick you up from the airport and ferry you back to campus. 

So show up, damn it. I don't mean that you can't demand coffee as a premise to cogency, and I don't mean that you have to magically recall everyone's name when signing books. You can be human. But please, be present. 

We had some wonderful visiting writers as well. One was, at the time, just a poet on tour to support his second collection--a philosophical, slightly difficult book with an indie publisher. Since then he has become a superstar; his life was made a movie. It would be easy to resent someone who has come so far, so fast, but I will always remember how attentive he was students in workshop, how engaged and kind at the reception afterwards. For years after he would say hello at AWP, remembering our meeting at American University even if he couldn't quite remember my name.  

He showed up. 

Herman Asarnow: "Double Fault"

The VPR Poem of the Week is Herman Asarnow�s �Double Fault,� which appeared in the Fall/Winter 2005-2006 issue (Volume VII, Number 1) of Valparaiso Poetry Review.
   

Herman Asarnow has had poems, essays, and translations published in Beloit Poetry Journal, Potomac Review, Prairie Schooner, Seattle Review, Southern Humanities Review, Southern Review, Tar River Poetry, West Branch, and other journals.  Asarnow is also the author of a collection of poetry, Glass-Bottom Boat (Higganum Hill Books, 2007), and he is Professor of English at the University of Portland.

Tuesday of each week �One Poet�s Notes� highlights an excellent work by a poet selected from the archives of Valparaiso Poetry Review, except when other posts with news or updates preempt the usual appearance of this item, with the recommendation that readers revisit it. 

Photo of the Week: "Scar"

I remind all interested that many of my photographs are available at a daily photo blog, which I began at the start of the year. I invite everyone to visit the blog and to click on the photographs to examine them in high resolution or to magnify them for a detailed look.

We Need Another National(ish) Poetry Series

Art by Doug Beube

Last month I had the pleasure of attending a reading at the home of Reb Livingston, the editor of No Tell Books, which featured poet and editor Bruce Covey. As I chatted with Bruce about the upcoming slate of publication for Coconut Books, I asked: 

Why doesn't a consortium of publishers start up another "national" poetry series for indie and/or experimental presses?

The principle is simple: poets pay a reading fee to have their books considered not by one press, but by five quality presses simultaneously. The existing National Poetry Series (which currently incorporates Coffee House Press, Fence Books, HarperCollins Publishers, Penguin Books, University of Georgia Press) has a great track record of selecting poets from a variety of aesthetics and matching them to appropriate houses. But they get a ton of incredible manuscripts, of which they can only publish a few. 

There is room for another national poetry series, one that recognizes an annual cohort of exciting new voices. Coconut, Black Ocean Books, Octopus Books, Switchback Books: I am looking at you. Doesn't need to be the same publishers every year, though there should be a quality control mechanism for rotation in and out of presses (perhaps approval by an advisory board) that includes a pledge of minimum reasonable levels of support in terms of editorial infrastructure, design, number of copies printed, distribution, secondary award nominations, and publicity. The reading fees could fund an auxiliary force that works to market each year's winners, and by association the publishers. While I realize that there will always be variations in aesthetic--different opinions of what the "best" manuscripts are--that is why one employs multiple judges. 

One thing the NPS does not do is create a network between each year's winners/judges, though the invaluable perks include name cache, an AWP reading, etc. But imagine if these indie presses went all in, and pooled their resources in terms of connections to opportunities with readings series and classroom visits around the country. Anyone who attends AWP offsite events recognizes that these likeminded affiliations already exist on an informal level. Imagine if this gave heft to freelancers trying to pitch small press books for review? Imagine if Small Press Distribution did an "Indie Poetry Series" summer special, a package rate for all five titles? 

I'm not naive about the bureaucracy or ethical complications associated with contests, but I'd love to hear some discussion. Nothing great ever happens unless you start with the "imagine" phase.