Reinventing the Life of a Poet in the Modern World

Category: Publishing (Page 3 of 6)

Article Watch: Tenses, Confessionals, Narcissisms, MFA-Alternatives

IpdThe November 2014 issue of The Atlantic has a good article called "Passive Resistance" written by Steven Pinker about how "the active voice isn't always the best choice.

American Poetry Review Sept/Oct 2014 has an article by Jason Schneiderman on the friendship between Agha Shahid Ali and James Merrill and talks about Merill's ouija board book-length poem "The Changing Light at Sandover." This poem is not included in his collected works, by the way. In the same issue there's an essay about the grotesque in poetry by Anna Journey. There's also a special suppplement of poems and commenorations on Stephen Berg, one by David Rivard and one by Edward Hirsch.

And finally the issue has a good overview of the most famous confessional poems and how their writers use pronouns and  a retrospective of Pete Seeger.

Poets & Writers Sept/Oct 2014 Issue

This issue has interviews with both Edward Hirsch and Louise Glück. Hirsch says:

"I think to have poetry, you need to have all kinds of different poets. We need poets to write playful, funny poems, poets who write light verse; I don't think we should neglect that. But should that be the defining feature of your poetry? Is that how you want your poetry to be remembered? I guess that's up to people in the culture. But it's also true that we live in a very superficial culture. We live in a culture that's driven by entertainment, by celebrities, so there's plenty in the culture to distract us and lighten us up. People who turn to poetry, I don't think y're looking for something gloomy, but I do think they're looking for something deeper than the superficial exxperiences you get in the culture every day."

Also, three poets discuss keeping a journal.  There's a great essay on narcissism and entitlement by Steve Almond and an article on the Savvy Self-Publisher and another one on MFA alternatives that talks about classes in urban areas outside of the college system:

The combination of innovative pedagogy, lower costs, and a focus on the craft of writing can make private writing workshops an attractive alternative to traditional MFA programs.

Just as happened with iTunes, Air B&B and Uber, the high cost and low-return (and greed of executives at the top) of bloated organizations will be driving customers to startup alternatives.

You can check your local library for older issues of these magazines.

   

Good Lessons in Publishing

UntitledLast week I finished Archaeology by Linda Simone and I was reminded of some lessons in any kind of small or self-publishing.

It's good to note here that this book was produced under the banner of Flutter Press whose website insists they are not a vanity press but that they use Print-On-Demand technology, in their case, they print through Lulu. This puts them in between a small press and a self-publishing co-op. They choose authors to help through the process of POD and give them a logo to print under. In their mind, they see themselves as a small press

But whether you provide POD services or publish yourself, it's imperative that you appear professional…especially if you're using POD. The fact that the press feels the need to defend itself tells you there's a stigma out there about POD. You have to counter that with a perfect product.

There were some tell-tale signs of amateur POD with this book.

  1. Their press logo was on the copyright page but nowhere on the back cover.
  2. Emdash and endash appearances were inconsistent throughout. In the dedication, there's a plain hyphen where an endash should be used. In other quotations, you would find double dashes.
  3. There was no printed spine. You must have a printed spine to look professional. You can spot self-published books a mile away with their lack of a spine. I had to pad my book a bit to get the page count over 100 in order to get a spine. When books are stacked vertically, you need to be able to be read their titles clearly on the spine. It's possible Lulu charges by the page and this might be the issue. CreateSpace doesn't deter you from adding pages.
  4. This book cover is beautiful but blurry, especially the author's name and title, the most important parts, another self-published giveaway. Was it an issue of resizing a graphic? The graphic on the cover is clear.
  5. Contents should start on an even page, not on the backside of the dedication page.
  6. The first poem or chapter should start on an even page.
  7. I found spacing issues between words in about 6 places throughout the book, not big enough spaces to look intentional, although there were what looked like the same number of intentional spacings.
  8. Certain words should have been spelled out like the word inches for ".
  9. I found a capital word in mid-sentences, an initial caps word in only one line of the poem.
  10. The page numbers shouldn't appear copyright page and table-of-contents pages.
  11. The book needs some blank pages for breathing room.
  12. There are punctuation inconsistencies with clauses and inconsistencies in periods in the acknowledgement list.

If your publisher isn’t going to stringently proof your book, you need to pay for someone do it. Your reputation is the only one that counts.

All these rules of publishing should be learned even if you work with this kind of small, POD press such as this. Maybe in this case this author didn’t want to risk the self-publishing stigma, but the result is a book that looks self-published. 

There’s a small press in Santa Fe that charges you to publish your work, in the line of about $3,000. Amazingly, they offer no services with that. Their editor told me himself, "Poets hate to be edited." Meanwhile their books are full of typos and grammatical errors. I know a prominent local academic who published with this press and received a bad cover and a book full of layout errors. It's embarrassing and it shouldn’t happen.

CreateSpace is free but if you truly need help navigating publication or you don’t like Amazon, there are other legitimate options. The Fine Print of Self-Publishing by Mark Levine evaluates all POD publishers, including Lulu.

Or read Self-Printed, The Sane Person's Guide to Self-Publishing by Catherine Ryan Howard to learn about publishing yourself. You research to buy a car, research your POD publisher. Lulu tends to be expensive and their price-points are high. Thankfully the price point for this book is $7 for 33 actual pages of poetry which is actually okay.

You need to care about your price point, the quality, and the professional presentation of your book. And if you are running a POD press, make sure you know what you're doing.

Control your own book and you can control many problems. The good news for this book is that all these issues are fixable with POD. To learn more: http://www.bigbangpoetry.com/2012/07/self-publishing-poetry-first-things-first.html

    

Ridiculous Reviews: John Donne

DonneJohn Donne, 1837

"Of his earlier poems, many are very licentious; the later are chiefly devout. Few are good for much."

Henry Hallam, Introduction to the Literature of Europe

 

  

  

Reviews originally compiled by Bill Henderson in Rotten Reviews.

Ridiculous Reviews: Hart Crane and Emily Dickinson

HcHart Crane’s The Bridge, 1932

"A form of hysteria…One thing he has demonstrated, the impossibility of getting anywhere with the Whitmanian inspiration. No writer of comparable ability has struggled with it before and it seems highly unlikely that any writer of comparable genius will struggle with it again."

Yvor Winters, Poetry

 

 

 

EdEmily Dickinson, 1892

"An eccentric, dreamy, half-educated recluse in an out-of-the-way New England village—or anywhere else—cannot with impunity set at defiance the laws of gravitation and grammar…Oblivion lingers in the immediate neighborhood."

Thomas Bailey Aldrich, Atlantic Monthly

 

 

Reviews originally compiled by Bill Henderson in Rotten Reviews.

  

Margaret Atwood Forsakes Book Blurbs

AtwoodA poet friend of mine from Sarah Lawrence College (now living in Los Angeles) recently sent me an envelope full of newspaper clippings and I’m enjoying reading and discussing them with him via email. One he sent me was the following piece from the LA Times, “No, Margaret Atwood Will Not Blurb Your Book

I really wanted to like this article when at first I assumed she would be forsaking blurbs on her own books; but the article was only about how she was refusing to give out anymore helpful blurbs to other authors.

A more revolutionary act would be for her to eschew blurbs on her own book covers. I mean, is she taking and refusing to give (just because she’s so busy)?

I get it that published authors are unbelievably busy and can’t keep up with these requests. I even respect Ringo Starr for recently notifying the fans of the world that he won't be signing autographs anymore. Totally acceptable because he’s not out there asking anybody for autographs. If you can't keep up with requests, then silently not keep up with requests. That's all you need to do. Why make a grandiose statement about it?

Blurbs are cliquish, overblown statements of meaningless PR, part of anyone’s book marketing plan; and we’ve been conditioned to believe we need them on our books and to convince us that a book is worthy of reading. If Atwood’s career was helped in any way by book blurbs (and it's hard to believe it wasn’t), it doesn't mean much to me that she's now refusing to give out blurbs. It’s just uncharitable and bad vibes. Speak out against the system at least while you're at it.

My friend told me it would take courage as an author to go blurb free. And yes it would.

Irked as I am with Atwood, I did add her to my Pinterst board of poets with sexy hair.

 

Ridiculous Reviews: Samuel Taylor Coleridge

SamuelSamuel Taylor Coleridge Review, 1828

"We cannot name one considerable poem of his that is likely to remain upon the thresh-floor of fame…We fear we shall seem to our children to have been pigmies, indeed, in intellect, since a man as Coleridge would appear great to us!"

London Weekly Review

Ridiculous Reviews: Lord Byron & Chaucer


ByronLord Byron Review, 1830

"His versification is so destitute of sustained harmony, many of his thoughts are so strained, his sentiments so unamiable, his misanthropy so gloomy, his libertinism so shameless, his merriment such a grinning of a ghastly smile, that I have always believed his verses would soon rank with forgotten things."

John Quincy Adams, Memoirs

 


Chaucer
Chaucer Review, 1835

"Chaucer, not withstanding the praises bestowed on him, I think obscene and contemptible: he owes his celebrity merely to his antiquity, which does not deserve so well as Piers Plowman or Thomas Erceldoune."

John Byron, The Works of Lord Byron

Poetry News: Poetry Used for Good and Evil; The Robot Poet Critic

It's been a while since I've done a news and link roundup so I have some good stuff:

Poetry Used for Good and Evil

The Automated Poetry Critic

How can you tell the difference? Ha! (Knee slap.) A program has been designed to pare out the professional poets from the amateurs: Poetry Assessor! I
just put my favorite poem in there (by a somewhat controversial poet)
and it spit back a score of 3.2! I couldn't get the evaluating PDF up for a justification on that outrage. Put your favorite poem in there and tell me what you get.

Publishing

Tips from the Dead & The I-Thought-They-Were Dead

Check Into It

 

Ridiculous Reviews: Matthew Arnold & W.H. Auden

ArnoldMatthew Arnold Review, 1909  

"Arnold is a dandy Isaiah, a poet without passion, whose verse,  written in surplice, is for freshmen and for gentle maidens who will be wooed to the arms of these future rectors."

George Meredith, Fortnightly Review

 I am now having a hard time not imagining all those gentle maidens scrambling to drag their fingernails through those side-burn forests. I was so impressed with them, I added Arnold to my Pinterist page of Poets with Sexy Hair.

Auden

W. H. Auden Review, 1952

"Mr. Auden himself has presented the curious case of a poet who writes an original poetic language in the most robust English tradition but who seems to have been arrested in the mentality of an adolescent schoolboy."

Edmund Wilson, The Shores of Light

 

I know, that's what I like about him!

And what a face. Try to carve that in glass, Paul J. Nelson.

 

 

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