Thursday, October 30, 2014

Some Notes on Remix Poetry

I’m fairly new to remix. So far, I’ve only used it in conjunction with three projects initiated by The Found Poetry Review. However, a number of people have asked what process I use for remix, so I thought I would provide an overview of it.

Generally, I take an arbitrary selection of a source text (or I am assigned a selection), for example the first paragraph of every page of a text or a specific chapter from a book, and then use the words in that selection as the general vocabulary for the poem that’s to be drafted.

I mix and rearranged individual words chosen out that selection of text. On occasion, I might remix using a phrase. But for the most part I use individual words: I separate all of the words out of the text so that they are not in context, because I don’t want to simply regurgitate the text in condensed form—I want to transform it somehow. Therefore, for my personality, it’s best that I not see the text on the page.

Then, using computer programs like Adobe Acrobat Pro, Microsoft Word, and/or Microsoft Excel, I create two lists—one in which the words are alphabetized in a single column and another that is randomized with the words in rows across the page. I select words from these two lists to make the poem. It's something akin to that prompt in which someone says “use these five words to make a poem” and then gives you an arbitrary set of words. Except in this case, all of the words need to be tied to the source text.

Separating out the words from their source context helps free me to use them in ways not tied to the source. For example, I feel more free to use words that can function as different parts of speech, such as bolt, which can function as a verb, adverb, or noun, as it fits the poem, not necessarily how it was used in the source text. Of course, a good number of folks aren't influenced by the story or specific meaning of the words on the page and can use the words without having to separate them from their context. I, unfortunately, am not one of them and so I create lists of free-standing words.

In addition to the word lists, I allow myself to use words that are not in the selection, but that can be discovered by:

 concatenation, e.g. sun + light --> sunlight

 erasure within a word to form a new word, e.g. erasing “ling” from “sparkling” to form "spark", sparkling  --> spark


If I get stuck, I allow myself to return to the source text on the page in order to apply erasure across a phrase to form a new word. If I can’t find a word I want within one line or 80 characters of text, I move on to another word or idea. As an example, take the phrase “as the new moon with.” By erasing “a” + “ the new” + “n wi” , you get the word “smooth”: as the new moon with --> smooth

For each revision of a poem, I go back to the word lists and techniques for finding new words.  I keep detailed notes so that I can adequately cite the source text, which is important.

Different people do remix differently and the above process is nothing official—it's just one that works for me. (I’m not sure there is an official remix method.)

It’s been interesting to note some of the comments I've received regarding remix poems. Some folks who are not fond of found poetry don’t consider it “real” poetry because they don't think it's original—not enough of the mark of the maker. Some who are ardent fans of found poetry don’t consider remix (or at least my remix process) to be “real” found poetry because there is not enough foundness to it. There’s too much original language—in this case, too much the mark of the maker, because the poem contains language that is not found directly in the source text or language that is not found in the same order as in the source text.

Sunday, October 26, 2014

Poetry Manuscripts: Resources for Manuscript Consultation/Coaching

(updated 12/17/2016)

This is the second post of two concerning resources related to putting together a poetry manuscript.

Last week, I posted a partial list of online articles that discussed ways to organize a poetry manuscript. Today's post is a partial list of individuals and organizations with an online presence (they're publicly accessible, have a website, etc.) that offer some sort of manuscript consultation or mentoring. The options below are 1) classes or workshops that include manuscript review, and 2) working one-on-one with a mentor.

Of the options listed below, I've done the post-graduate residency. I've also worked with some folks on a manuscript consultation:

  • I contacted Sandra Simonds for a consultation after I'd been sending my first manuscript script out for a couple of years. The manuscript had received some favorable results (occasional finalist or semifinalist), but remained unpublished. I thought a set of fresh eyes on the matter would help.  After she and I exchanged emails and mutually agreed we'd be a good fit, I emailed the manuscript to her. She responded in a timely manner, on the exact day we agreed to. Her feedback included a page of comments with respect to her overall impressions. Then, for each poem, she provided line edits and comments, including suggestions on arrangement, themes, narrative arc, weaknesses, strengths, etc. Her comments were to the point and insightful. It was just what I needed to help me better see how I should shape the manuscript. I cut twenty pages and added five new poems (eight pages). Some of the poems that were removed were ones that Sandra suggested; others were ones that I felt needed to go.

  • I worked with Sandra Beasley after I replaced about 20% of the poems in a manuscript. The changes resulted in a manuscript with a somewhat different focus. When I contacted Sandra, I wasn't looking for a full manuscript review. Since a large chunk of the manuscript had been torn out and filled in with brand new poems, I wanted a second opinion on whether it still held together as a book. Sandra's response was timely and substantive. She provided two page of comments / recommendations and a suggested reordering. She even offered line edits, which went above and beyond what I'd requested. I found her feedback to be quite helpful.
Both Sandra Simonds and Sandra Beasley are listed below in "Services Offered by Individuals".

Please note: The resources listed below came to my attention because I received an email about it or I heard about it at a conference or someone sent me a link to it. Except for the two mentioned above, other than what scant information is provided below, I know little about these services. So, as with any service on which you spend your hard-earned pennies, caveat emptor.

And if you're ready to send out your first poetry manuscript and are looking to send them to contests, check out this list of 1st-book contests.

CLASSES/WORKSHOPS THAT INCLUDE MANUSCRIPT REVIEW


Colrain Manuscript Conference, fee is approximately $1,400 and includes lodging and some food

• The Vermont College of Fine Arts Postgraduate Writers' Conference  has a workshop for full manuscripts for those who have an MFA (“members of the Poetry Manuscript workshops submit drafts of book-length collections.”) Poetry Manuscript tuition is a little over $1,000, room and board not included.


WORKING ONE-ON-ONE WITH A MENTOR


One-on-one services are divided below into two groups: those offered by a journal, press, or other organization and those offered by an individual. In fees listed are current as of the date of they were added to this page and might have since changed. Please contact the organization or person for current rates.

Services offered by journals, presses, and other organizations
• Cutthroat Journal Mentorship and Manuscript Evaluations, fee for Poetry manuscript is approximately $2,000

• GrubStreet Manuscript Consultation, hourly rate, $75 per hour

• The Loft Manuscript Critique and Coaching, cost varies according to the mentor/editor you select

• The Attic Institute offers Individual Consultations, including “Putting Together Your Full-Length Poetry Manuscript”, fee varies depending on requested consultation

• UCLA Extention Writers’ Program One-on-One Consultation, fee varies by number of pages, $500 minimum

• Manuscript Reading Services offered by members of the League of Canadian Poets, fees vary according to mentor/editor you select

• Manuscript editing and mentoring by one of the editors of Two Sylvia Press, sliding-scale fee from $450 to $1350

• Manuscript editing and mentoring by one of the editors of Blue Lyra Review, fee varies per number of pages, approximately $25 per 20 pages

• Post-graduate semester: If you have an MFA or other degree, there's the option of checking with the school where you graduated (or another school) to see if you could take a post-graduate semester to work with a mentor to finalize your manuscript. The cost is likely to be one semester's tuition.


Services offered by individuals

• April Ossmann, Manuscript consultation, hourly rate $85, final fee varies depending on the type of editing requested

E. Kristen Anderson, writing coach, chapbook and full length consultations, and individual-poem critique at Yellow Bird Editors, see "How Much Will It Cost" for rates.

• Jeffrey Levine, Editor-in-Chief and Publisher of Tupelo Press, Mentoring Program for Poets, fee varies according to which plan you choose, from $1,200 on up

• Jennifer Givhan, Critique & Editing Services , fee varies according to services requested

• Jennifer K. Sweeney, Private Instruction / Poetry Critique, fee varies according to services requested, approximately $450 for a manuscript critique

• Jessica Piazza, Co-founder of both Bat City Review and Gold Line Press, contributing editor at The Offending Adam, see her author website for her contact info, fee varies according to services requested, starting at $300 for a general consultation.

• Joanna Fuhrman, poetry editor at Ping PongPoetry Workshops for Adults—Individual Consultations, fee varies according to services requested; approximately $425 for a book/manuscript consultation.

• Katerina Stoykova-Klemer of Accents Publishing, Editing and feedback on book-length manuscripts, contact her for fee amounts

• Kelli Russell Agodon, Editorial Services for Poets & Writers, rates vary depending on services requested

• Laura Van Prooyen, Writer Services, see author website for rates

• Nancy Pearson, Individual manuscript consultations, contact her for fee amounts

• Neil Aitken, editor at Boxcar Poetry Review, Consulting, rates vary depending on services requested

• Sandra Beasley, click on the For Hire tab of the author's website, contact her for fee amounts.

• Sandra Marchetti, Associate Poetry Editor at Stirring: A Literary CollectionWriting Services, fee varies according to length of the manuscript, starting at $100 for a shorter chapbooks; publication coaching offered at approximately $30 an hour.

Sandra Simonds, author of 4 books of poetry, whose work has been selected for Best American Poetry 2014 and 2015, manuscript consultations include line edits, help with arrangement, and general feedback. Contact her for fee amounts, ssimonds23@gmail.com


[The links and the information shown above were current as of the date of this post.]

Sunday, October 19, 2014

Poetry Manuscripts: Resources for organizing a manuscript

There are lots of resources out there related to putting together a poetry manuscript, from articles on how to organize a manuscript, to classes and workshops that include manuscript review, to working one-on-one with a mentor. I thought it would be a good to idea to gather some of those resources together for those who are interested in such things. Below, you'll find a list of some books and articles that discuss how to organize a poetry manuscript. Next week, I'll provide a list of resources related to manuscript consultations.

[If you're ready to send out your first poetry manuscript and are looking to send them to contests, check out my post that lists 1st-book contests.]

PRINT BOOKS

"Ordering the Storm: How to Put Together a Book of Poems" by Susan Grimm


ONLINE BOOKS

Turning a Manuscript into a First Book by Alberto RĂ­os


ON THE INTERNET

==Articles in a Series==

Kelli Russell Agodon of Two Sylvias Press has a four-part series of articles called "Compiling a Poetry Manuscript:"

Jeffrey Levine of Tupelo Press has a series of articles on the subject of organizing a manuscript. Here are the links as of Oct. 18, 2014:


==Individual Articles==

On the Patchwork Approach to Piecing Together a Book” by Heather Christle

Assembling a Poetry Collection” by Gerald Huml

How to Order the Poems in a Manuscript” by Leeanne Quinn

"Notes from a First Round Reader" by Marilyn McCabe

Putting Your Poetry in Order: The Mix-Tape Strategy” by Katrina Vandenberg

"Shaping a Collection of Poems" by Jamaal May

"Still Life with Book: On Ordering Your Poetry Manuscript" by Sandra Marchetti (guest post on Chloe Yelena Miller's blog)

Thinking Like an Editor: How to Order Your Poetry Manuscript” by April Ossmann

"Trust Your Eye: On Ordering Poetry" by Sandra Beasley



[page last update 18-Jun-2015]

Monday, September 1, 2014

Poetry Manuscripts: 1st-Book Poetry Contests

If you've written your first full-length (48 pages or more) poetry manuscript and are considering submitting it to contests, this page might be of use to you. Here is a partial list of first-book and first / second book contests for poetry manuscripts that are open to poets writing in English. Some caveats:
  • The URLs provided below were accurate when I entered the information, but they might not be so now.
     
  • Be sure to read the guidelines carefully for changes in
    • status. It may no longer be a first-book contest.
    • restrictions. I've tried to identify any limitations and restrictions, such as the contest is offered only in certain years or requires that the poet be from a certain area. That said, a publisher may have since changed or added restrictions.
        
  • Most, if not all, of the contests below charge a submission fee. 

1913 Press, 1st book contest, 1913 Prize for First Books
* 2015 winners: Laura Vena, X/She: Stardraped and Andrew Wessels, A Turkish Dictionary
* 2014 winner: Leif Haven, Arcane Rituals from the Future
* 2013 winner: Jane Lewty, Bravura Cool
* 2012 winner: Scott McFarland, O, Human Microphone

ABZ Press, 1st book contest, First Book Award, starting in 2014, accepts submissions every other year. 
* 2014 winner: Pamela Davis, Lunette
* 2013 winner: Jean McDonough, Traceries
* 2012 winner: Melissa Tuckey, Tenuous Chapel

Academy of American Poets, 1st book contest, Walt Whitman Award; limited to citizens of the United States
* 2016 winner: Mai Der Vang, Afterland
* 2015 winner: Sjohnna McCray, Rapture
* 2014 winner: Hannah Sanghee Park, The Same-Different
* 2013 winner: Chris Hosea, Put Your Hands In
* 2012 winner: Matt Rasmussen, Black Aperture

Black Lawrence Press, 1st book contest for poems or short stories, The St. Lawrence Book Award (only poetry winners are listed here)
* 2015 winnter: Alexandra Lytton Regalado, Matria
* 2014 winner: short-story winner
* 2013 winner: KMA Sullivan, Necessary Fire

BOA Editions, 1st book contest,  A. Poulin Jr. Poetry Prize, limited to citizens and legal residents of the United States
* 2015 winner: Derrick Austin , Trouble the Water
* 2014 winner: Devin Becker, Shame | Shame
* 2013 winner: Geffrey Davis, Revising the Storm
* 2012 winner: Ryan Teitman, Litany for the City

 Briery Creek Press1st book contest, Liam Rector First Book Prize for Poetry
* 2014 winner: B. A. Goodjohn, Bone Song
* 2013 winner: Natalie Giarratano, Leaving Clean
* 2012 winner: Greg McBride, Porthole

Carolina Wren Press, 1st or 2nd book contest, Carolina Wren Press Poetry Series, accepts submissions every other year (in 2011 for a 2012 winner, in 2013 for a 2014 winner, etc.)
* 2014 winner: Charles Wyatt, Goldberg – Variations
* 2013 winner: n/a
* 2012 winner: L. Lamar Wilson, Sacrilegion

Cave Canem, 1st book contest, Cave Canem Poetry Prize; limited to African-American poets
* 2015 winner: Donika Kelly, Bestiary
* 2014 winner: Rickey Laurentiis, Boy with Thorn
* 2013 winner: F. Douglas Brown, Zero to Three
* 2012 winner: Dexter Booth, Scratching the Ghost

Cider Press Review,1st or 2nd book contest,  CPR Editors Prize 
* 2015 winner: Susan Azar Porterfield, Dirt, Root, Silk
* 2014 winner: Sarah Estes, Field Work
* 2013 winner: Laura Donnelly, Watershed
* 2012 winner: Susan Laughter MeyersMy Dear, Dear Stagger Grass

Cleveland State University Poetry Center,1st book contest,  First Book Award 
* 2015 winner: Leora Fridman, My Fault
* 2014 winner: Siwar Masannat, 50 Water Dreams
* 2013 winner: Chloe Honum, The Tulip Flame
* 2012 winner: Rebecca Gayle Howell, Render / An Apocalypse

Coconut Books, 1st book contest, The Joanna Cargill Coconut Book Prize for a First Book [This press has closed.]
* 2013 co-winner: Alexis Pope, Soft Thread
* 2013 co-winner: Tyler Gobble, More Wreck More Wreck
* 2012 winner: Ji Yoon Lee, Foreigner's Folly: A Tale of Attempted Project

Copper Nickel, 1st or 2nd book contest, The Jake Adam York Prize [2016 is the inaugural year for this prize.]


Crab Orchard Review, 1st book contest, First Book Award; limited to citizens and permanent residents of the United States
* 2015 winner: Charif Shanahan, Into Each Room We Enter Without Knowing
* 2014 winner: Gregory Kimbrell, The Primitive Observatory
* 2013 winner: Noel Crook, Salt Moon
* 2012 winner: Tarfia Faizullah, Seam

Elixir Press, 1st book contest, Antivenom Poetry Award
* 2015 winner:  John Estes, Sure Extinction
* 2014 winner:  Lisa Bickmore, flicker
* 2013 winner: Kirun Kapur, Visiting Indira Gandhi’s Palmist
* 2012 winner: David Ray Vance, Stupor

Four Way Books, 1st book contest, Intro Prize in Poetry; contest appears to be offered every other year in even years (2012, 2014, etc.)
* 2014 winner: Rajiv Mohabir, The Taxidermist's Cut
* 2013 winner: n/a
* 2012 winner: David Daniels, Clean

Kelsey Street Press, 1st book contest, First Books by Women Writers; limited to female poets
* 2015 winner: Jennifer Pilch, Deus Ex Machina
* 2014 winner: Jasmine Dreame Wagner, Rings
* 2013 winner: Sabrina Dalla Valle, 7 Days and Nights in the Desert (Tracing the Origin)

Kore Press, 1st book contest,  First Book Award; limited to female poets
* 2015 winner: Zayne Turner, Body Burden
* 2014 winner: Monica Ong, Silent Anatomies
* 2013 winner: Jen McClanaghan, River Legs

Kundiman, 1st book contest, The Kundiman Poetry Prize, limited to Asian-American poets
* 2015 winner: Rajiv Mohabir, The Cowherd's Son
* 2014 winner: Janine Joseph, Driving Without a License
* 2013 winner: Lo Kwa Mei-En, Yearling
* 2012 winner: Cathy Linh Che, Split

New Issues, 1st book contest,  New Issues Poetry Prize
* 2016 winner: Courtney Kampa, Our Lady of Not Asking Why
* 2015 winner: Sawnie Morris, Her, Infinite
* 2014 winner: Abdul Ali, Trouble Sleeping
* 2013 winner: Kerrin McCadden, Landscape with Plywood Silhouettes
* 2012 winner: Marni Ludwig, Pinwheel

New Rivers Press, 1st or 2nd book contest,  MVP (Many Voices Project) Competition
* 2015 winner: Carol Kapaun Ratchenski, A Beautiful Hell
* 2014 winner: unknown (unable to find who won)
* 2013 winner:  Julie Gard, Home Studies
* 2012 winner: Brandon Krieg, Invasives

Omnidawn, 1st or 2nd book contest, 1st/2nd Book Prize
* 2015 winner: Jennifer S. Cheng, House A
* 2014 winner: Margaret Ross, A Timeshare
* 2013 winner: Eric Ekstrand, Laodicea
* 2012 winner: Robin Clarke, Lines the Quarry
  
Pavement Saw Press, 1st or 2nd book contest, Transcontinental Poetry Award [This contest appears to be defunct.]
* 2014 winner: n/a (contest suspended for 2014)
* 2013 winner: unknown (unable to find who won)
* 2012 winner: Ethan Saul Bull, Shut Off the Flowers

Persea Books, 1st book contest, Lexi Rudnitsky First Book Prize, limited to female poets who are American citizens
* 2015 winner: Kimberly Grey, The Opposite of Light
* 2014 winner: Susannah Nevison, Teratology
* 2013 winner: Leslie Shinn, Inside Spiders
* 2012 winner: Allison Seay, To See the Queen

Perugia Press, 1st or 2nd book contest, Perugia Press Prize, limited to female poets
* 2015 winner: Jenifer Browne Lawrence, Grayling
* 2014 winner: Corrie Williamson, Sweet Husk
* 2013 winner: Gail Martin, Begin Empty-Handed

Poetry Foundation, 1st book contest, Emily Dickinson Poetry Prize, limited to poets who are at least 40 yrs old and American citizens; contest is not offered every year
* 2017 winner: Kristen Tracy, Half-Hazard
* 2012 winner: Hailey Leithauser, Swoop

Red Dragonfly Press, 1st book contest,  The David Martinson - Meadowhawk Prize
* 2015 winner: Susan Cohen, A Different Wakeful Animal
* 2014 winner: Francine Sterle, What Thread? 
* 2013 winner: Chad Hanson, Patches of Light

Sage Hill Press, 1st book contest, Powder Horn Prize
* 2014 winner: Jeffrey Tucker, Kill February
* 2013 winner: unknown (unable to find who won/unsure if there was a contest that year)
* 2012 winner: Marci Rae Johnson, The Eyes the Window


Silverfish Review Press, 1st book contest, Gerald Cable Book Award
* 2014 winner: Robert Hunter Jones, Winter Garden
* 2013 winner: Randolph Thomas, The Course of the Telling
* 2012 winner: Raphael DagoldBastard Heart

Switchback Books, 1st or 2nd book contest, Gatewood Prize; limited to female poets
* 2014 winner: Cyrstal CurryBut I Have Realized It: A Motivational Poem in Little Arcs
* 2013 winner: Morgan Parker, Other People's Comfort Keeps Me Up At Night
* 2012 winner: Stefania Heim, A Table that Goes on for Miles

Tebot Bach, 1st book contest, Patricia Bibby First Book Award
* 2016 winner: Ephraim Scott Sommers, The Night We Set the Dead Kid on Fire
* 2015 winner: Ezra Feldman, Habitat of Stones
* 2014 winner: David Ebanbach, We Were the People Who Moved
* 2013 winner: Erin Malone, Hover
* 2012 winner: Myles Gordon, Inside the Splintered Wood

The American Poetry Review, 1st book contest, Honickman First Book Prize; limited to citizens of the United States
* 2015 winner: Alicia Jo Rabins, Divinity School
* 2014 winner: Katherine Bode-Lang, The Reformation
* 2013 winner: Maria Hummel, House and Fire
* 2012 winner: TomĂ¡s Q. MorĂ­n, A Larger Country

Trio House Press, 1st or 2nd book contest, Trio Award; limited to poets residing within the United States
* 2016 winner: Mary Cisper, Dark Tussock Moth
* 2015 winner: Carolyn Hembree, Rigging a Chevy into a Time Machine and Other Ways to Escape a Plague
* 2014 winner:  Bradford Tice, What the Night Numbered
* 2012 winner: Iris Jamahl Dunkle, Gold Passage

Tupelo Press, 1st or 2nd book contest, Berkshire Prize for a First or Second Book
* 2015 winner: Patrick Coleman, Fire Season
* 2014 winner: Jenny Molberg, Marvels of the Invisible
* 2013 winner: Amy McCann, Yes Thorn

U of Pittsburgh Press, 1st book contest, Agnes Lynch Starrett Poetry Prize
* 2015 winner: Miriam Bird Greenberg, In the Volcano's Mouth
* 2014 winner: Nathan Marshall, Wild Hundreds
* 2013 winner: Sarah Rose Nordgren, Best Bones
* 2012 winner: Kasey Jueds, Keeper

U of Massachusetts Press, 1st book contest, Juniper Prize for Poetry; consideration of 1st-books occurs only during odd-numbered years (2013, 2015, 2017, etc.) for winners named in even-numbered years (2014, 2016, 2018, etc.)
* 2015 winner: n/a
* 2014 winner: David Kutz-Marks, Violin Playing Herself in a Mirror
* 2013 winner: n/a
* 2012 winner: Brandon Dean Lamson, Starship Tahiti

U of Notre Dame Institute for Latino Studies1st book contest, AndrĂ©s Montoya Poetry Prize; limited to Latino/a  poets in the United States, occurs every two years
* 2015 winner: n/a
* 2014 winner: David Campos, Furious Dusk
* 2013 winner: n/a
* 2012 winner: Laurie Ann Guerrero, A Tongue in the Mouth of the Dying

Unicorn Press1st book contest, First Book Contest
* 2015 winner: Stephen Lackaye, Self-Portrait in Dystopian Landscape
* 2014 winner: Hastings Hensel, Winter Inlet
* 2013 winner: Martin Arnold, Earthquake Owner's Manual

Waywiser Press, 1st or 2nd book contest, The Anthony Hecht Poetry Prize
* 2015 winner: Austin Allen, Pleasures of the Game
* 2014 winner: Jaimee HillsHow to Avoid Speaking
* 2013 winner: Geoffrey Brock, Voices Bright Flags
* 2012 winner: Shelley Puhak, Guinevere in Baltimore

Wick Poetry Center, 1st book contest, Stan and Tom Wick Poetry Prize
* 2015 winner: Leah Osowski, Hover Over Her
* 2014 winner: Matthew Minicucci, No Epithets
* 2013 winner: Oliver Bendorf, The Spectral Wilderness
* 2012 winner: Michael Mlekoday, The Dead Eat Everything

Yale University Press, 1st book contest, Yale Series of Younger Poets
* 2015 winner: Noah Warren, The Destroyer in the Grass
* 2014 winner: Ansel ElkinsBlue Yodel
* 2013 winner: Eryn Green, Eruv
* 2012 winner: Will Schutt, Westerly

Zone 3 Press,  1st book contest, First Book Award; contest appears to be offered every other year in even years (2012, 2014, etc.)
* 2015 winner: n/a
* 2014 winner: Ashley Seitz Kramer, Museum of Distance
* 2013 winner: n/a
* 2012 winner: Karen Skolfield, Frost in the low area


If you want a list with more information than what is provided above, check out one of these fine resources:

    • a list of presses with open readings for full-length poetry manuscripts at Linebreak, the blog of Tom Holmes (editor of Redactions)
    •  NewPages, a wonderful literary-journal and writing portal 
    • Duotrope,  an online service that provides, among other things, a database of almost every journal and an application that allows you to track your submissions. (Duotrope charges a fee. I subscribe to Duotrope and find it a bargain for the price.)
       

Friday, July 11, 2014

From Oulipost 2014: Petroleum Picnic, Water Bowl

As part of Oulipost 2014one of the Oulipo  techniques we used was to take a close look at advertisements and classifieds. The technique is called COLUMN INCHES. Here are the instructions from the Oulipost 2014 playbook:
Refer to the advertising section or the classifieds in your source newspaper. Create a poem by replacing all of the nouns in your chosen ad segment or classified listing with nouns from one article in the same newspaper. You may use multiple ads/classifieds, presented in the order of your choosing.

This would be a fun warm-up exercise for a writing group or as a warm-up exercise for yourself. If you need some inspiration, check out the abundance of creative poems written by the other Ouliposters on the Found Poetry Review page for the column-inches poems.

****************

Petroleum Picnic, Water Bowl


WANTED 
10 15 histories 
that need popularity 

10 15 wars needed to “SHOWCASE” our amazing fact-like
exterior reason-stories. A great opportunity to have the remarkable
HOOSIER PERMANENT EXPLOSIVES MANUFACTURING SYSTEM
applied to your property at huge subsidies. Have your city or county
looking freshly painted forever! Made in a reservoir! Hoosier owned! 

Fat-rendering appearanceLooks like fresh money
1,200 heart attacksMeets EPA health concessions
No artificial blast furnacesGreat for all grasslands and schools

Call now for a free coke oven.




Poem Sources:

Indy Star 14 Apr 2014.

advertisement was found on page A2

nouns taken from the following article:
Slabaugh, Seth. "Muncie Water Bowl auction." A9

Monday, June 9, 2014

From Oulipost 2014: Shaken, not Speared

Today's post is from the penultimate day of Oulipost 2014, which found us downing some CANADA DRY:
The name of this procedure is taken from the soft drink marketed as “the champagne of ginger ales.” The drink may have bubbles, but it isn’t champagne. In the words of Paul Fournel, who coined the term, a Canada Dry text “has the taste and color of a restriction but does not follow a restriction.” (A musical example is Andrew Bird’s “Fake Palindromes” - http://www.youtube.com/watch?v=7pqYTTW4hKk&feature=kp) Be creative, and write a poem sourced from your newspaper that sounds like it’s been Oulipo-ed, but hasn’t.

This can be a fun technique, if you allow yourself to pretend there are rules and constraints when there aren't, if that makes any sense. For inspiration and to experience some all-around creative genius-ness, be sure to check out the other Canada Dry poems at Found Poetry Review!

***************************

Shaken, not Speared

To be or not.
To bethat is the question

rough and weathered: Do the daring 
and windy buds of May shake, my darling?

O Woe, all the world is a stage, so what is a name?
A thing that is verboten in the state of Denmark, methinks,

where the Mister’s dove does coo too much! Wailful, my mistress sighs
and nothing like the sun shall compare love's light wings to a summer day. Nay.

A chance to sleep or maybe even dream. Perchance it is an ay here, yay there, nay
everywhere. Everywhere a nay, nay. And where is the rub, Friends? Roaming

the countryside, where men lend us their ears? But now it is the winter.
And of our discontent is this above all: to thine ownself be few 

and far between. For Hope is a thing with horse feathers. 
A horse! Alas, my kingdom is hoarse. O Knight,

good night, parting is such sweet sorrow, 
you may think. I love you. Not.


Poem sources
Indy Star 29 Apr 2014.  [Indianapolis, Indiana]. Print. 
various articles; opinion and advice columns; letters to editor, email, and social media responses; advertising; obituaries; classifieds; weather; legal notices; TV listings and highlights


Process notes

Oh, I got up very early this morning for this technique. I've been concerned about it all month. I couldn't find any further explanation of it other than the instructions above, and I couldn't find any examples. So, I approached it differently than with the previous Oulipost poems: I started out with something already in mind, which is: I wanted it to be an Canada-Dry abomination of famous Shakespeare lines. 

I began this morning by going through the paper searching for words that I could arrange into one of Shakespeare's lines, but it wasn't working. I felt frantic and overwhelmed. So many words, yet I couldn't find my way to a Shakespeare line. 

So I went in reverse and wrote the poem first, using words that would likely be found in the paper, assuming I used a technique called remix, explained below. I then went through the newspaper looking for the words of the poem. If, within the remix constraints I'd given myself, I couldn't find a particular word in the source text, I replaced it with a new word and then tried to find that new word, until I could source all words that were in the poem but one, which is there on purpose.

The Canada-Dry elements (i.e., the techniques or rules being suggested that are not really there), which I hope come across are:
  • [cento] I'm hoping that, overall, the poem seems to be cento of some of Shakespeare's more famous lines, which of course it isn't. (There is a suggestion of a line from a nursery rhyme, a Dickinson poem, and an idiom.)
  • [keeping the lines, but changing syntax] and that, at first, the poem seems to be Shakespeare's original lines subject to the rule of changing the original syntax
  • [homonyms] and that later in the poem, it appears the poem is using homonyms in some consistently patterned way 
  • [some sort of snowball/melting snowball] and that it appears the poem is a snowball of sorts, in which lines increase / decrease in some consistent way, such as adding / subtracting two words per line. 
I also Canada-Dried the rule to use what I could find (or remix in this case) in the day's newspaper by including the word verboten, which cannot be found in the source text using the remix rules I established for the poem.

Remix: The process I used for the poem and its title is remix, in which I mixed and rearranged phrases and individual words chosen out of the text, as well as new words that were not in the text, but that were discovered by applying erasure to a word or phrase. The modifications to the source text could include one or more of the following: 
  • change in verb tense, e.g. compared --> compare
  • concatenation of whole words to form one new word. e.g., country + side --> countryside
  • erasure within a word to create a new word, e.g. through --> rough
  • erasure within a phrase to form a new word, e.g. the board’s decision  --> hoarse