Wednesday, January 8, 2014

Sample Poems from Volume XXXIV


Jody Azzouni

 

The reflection yearns

 

 

Winged grace

echoed in the water:

a ripple fishing for attention.

 

You deny its hope: sidelong

it out of existence.

 

We don't remember the twin

we bury.

 

 


 

When that last snowflake has been stamped out

 

 

We come to

our senses; green

explodes.  The blinking dew

feeds us awake.

 

Hope is

   eternally spring.

Wednesday, December 18, 2013

Poet Interview: Alessandra Gelmi

Novelist. Poet. Playwright. Journalist. Professor. Alessandra Valentina Maria Gelmi has dipped her hands in many areas of professional writing to tap into the deep culture of literature. She explores life's mysteries and helps readers have a spiritual connection with her storytelling via poetry or novel. Here is the interview I did with Ms. Gelmi as she encourages everyone to respect each other's writing as we all have different personal expressions in the nature of art. 


What is poetry to you? What about prose, journalism, or any other professional writing you have done?

I describe poetry as dignifying the mystery. I’m interested in beauty, bonds we form with the child, the sea, the sinner. Does the story make you cry? The heart chakra interests me. Einstein said, “The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science.”

I have written for four national daily newspapers and dozens of magazines, covering culture and philanthropy. My interest skews now towards metaphysics, cosmology, and eschatology. I just returned from a six week stay in Italy (visiting my Dad who is 92—and realized there exists a vacuum in the current Italian psycho-social climate. A spiritual vacuum—despite the new Pope Francis whom I  respect for his open, vision of inclusion, so I asked my Italian cousin, an MD and a holistic dentist, to join me in publishing the Sedona Journal of Emergence: ITALIA. So maybe I now will be a “professional” publisher.

You are a senior journalist and correspondent at The Epoch Times. How long have you been working there? What are the benefits of working there as a writer?

We are all volunteers at that paper. I have been writing for them a number of years. It is a newspaper with a human rights slant, written by practitioners of the Falun Dafa. The newspaper is published in 25 languages and 35 countries and growing.

I am highly respectful of the people I work with. They are evolved. I studied the Falun Dafa for years—as I did the B’hai faith, I also practiced as a Roman Catholic. I am currently studying Kaballah with a rabbi in Jerusalem (courtesy of skype) and exploring Kaballistic spirituality through galactic venues. Mesmerized by various exponents of religious freedom, I have become an egregious Universalist. For me, there is one Creator God with many names (e.g. Allah, God the Father, Jehovah, YHWH, and so on).

You have also worked to raise funds for the Mercy Center (clinic and school) in Kenya, and your 2007 novel Who’s Afraid of Red took place two years after the Rwandan genocide. Have you always had an interest for the African history and culture? What do you want for people to take away from their learning of the events going on in African countries?

I feel very tuned in to African culture. It is an overwhelming culture in many respects. So rich, so fertile, so ancient, so powerful. What we can take away? Pay attention to a culture whose very roots sustain a deep sense of pride and appreciation for mysterious and sacred tradition, for ritual and ancestral reverence. For knowledge. For Magic.

Not to mention the sheer emotional and spiritual moxy of a people who have survived slavery by whites, dominion by despots who share their own blood, war, famine, poverty, pestilence, and genocide. My God, what haven’t the African people survived? This is no ordinary culture.

The Africans also have a luminous memory. Stories handed down through millennia from tribe to tribe connecting their people to their star origins. The collective African consciousness has a translucency of soul and what I mean by that is, the collective African consciousness (and I have to include indigenous people in general) have a designated window into the Akashic Records which contain precious super-worldly information in the form of light.

Sample Poem from Volume XXXIV


Alessandra Gelmi

 

Haitia

 

 

My father owned coffee plantations in Madagascar.

He had polio and

when I came home from school and

knocked on the door of our white house

I heard his metal brace scrape the floor

before I saw his face

and the marks he made on the Italian tile.

 

Haitia was my nanny, soil-black,

smelling of sweet almost lambent oil,

smelling of grapefruits, lemons, and limes.

My mother was an obstetrician,

smelling of dust,

an erect woman with alabaster skin

and a black bag

filled with silver instruments.

 

When I was born

my father planted a grapefruit tree.

For six years it bore no fruit.

On my sixth birthday, a single grapefruit appeared.

Don't pick it, my father warned.

 

It was then, outside,

between aggressive sunbursts,

my girlfriends urged me on.

Jump and get it! they shouted

Jump and get it!

Restless we were for this epiphany.

 

That evening, my father

burned me on the arm with a soldering iron.

Haitia had to leave the room.

I could hear her wailing through blunt walls.

My father frightened her

even though she was much bigger than he.

 

My mother, at the time,

was somewhere doing a Caesarian or

she would have stopped him I think.

Still, thirty-five years later to the day

I never pick flowers or fruit from trees.

I've learned my lesson, I'm respectful,

I walk without scarring a clean surface

something my father could never do.

Monday, November 25, 2013

Web Exclusive: Two poems by Sean Singer


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Apotheosis of Sonny Clark


 

First, tar’s vinegar warmth, euphoria & nodding off.

Followed by Automat cheeseburgers and vanilla milkshake.

 

The only black kid in the school picture,

Faraway swim look in the thread of his eye.

 

Japanese love Cool Struttin’—

White legs, black A-line, Fifth Avenue.

 

As demons douse metallic nodules

A stylus pins Cole Porter in a Pullman quarter.

 

What seems like a right hand with blue tabulae

Is actually Sonny Clark waking up from his vomit

 

When he sees what he’s leaving behind

Only the right chord is perfect labor

 

Everything with Sonny Clark is weakness.

He’s a city and a forest infolded quill

 

Tranquilized with black lung and tar black,

The most aristocratic color of all.
 
 
***
 
 

Mountainous Black Garden

 
What good is intelligence if you cannot discover a useful melancholy?”
—Akutagawa Ryonosuke
 
 
Reading grapefruit, prey, and fake grief.
Put on “Fleurette Africaine” and her arm
 
Drapes onto steel fibers along nerves.
Her love fills the zinc bottle of its own body.
 
Peel me a woody bass, wick the piano away
From the sweet peak of Duke’s pomade.
 
Black can be quiet and contain the whole thing.
What is apart and not hard and hard and not apart?


***

About the Poet:

Sean Singer’s first book Discography won the Yale Series of Younger Poets Prize, selected by W.S. Merwin, and the Norma Farber First Book Award from the Poetry Society of America. He has also published two chapbooks, Passport and Keep Right On Playing Through the Mirror Over the Water, both with Beard of Bees Press and is the recipient of a Fellowship from the National Endowment for the Arts.

His work has recently appeared in Memorious, Pleiades, Souwester, Iowa Review, New England Review, and Salmagundi. He has a Ph.D. in American Studies from Rutgers-Newark. He lives in Harlem, New York City.

 

 

Monday, November 18, 2013

Poet Interview: Kelley J. White

As a pediatrician who believes her work experiences speak of truth and honor in poetry, Kelley J. White gives her patients a voice to tell their stories because everyone has one worth listening to. The following interview reveals how poetry has been an important part of her life, even through her medical practice years.


What interested you in poetry? Did you take writing courses when you were in college? Have you written anything else besides poems?

I’ve always loved books and libraries and have wanted to publish a book since I was nine years old. There was a book I checked out of the Gilford Public Library called, I believe, O Ye Jigs & Juleps!, that had a ten year old author [Virginia Cary Hudson], and I wanted to rise to that challenge. I also wanted to be a scientist, though, and thought perhaps I could do it all.

I spent a summer in college working for the U.S. Forest Service in biology research and realized that I had more contact with people than being in a lab or at a research station provided. I thought of medicine as combining science and human service. I continued writing, and in fact was honored with a fellowship for creative writing during my senior year at Dartmouth College (after completing all the pre-med science courses). I have, therefore, a ‘novel’ in a box in the bottom of my closet. I made a brief effort to find a literary agent the summer before I started medical school at Harvard then put away that part of life for about a decade, although I did keep a journal related to my experiences as a resident physician in pediatrics.

Why did you choose to pursue a career as a pediatrician?

I had planned to become an obstetrician/gynecologist but realized just before beginning my internship that I loved children and babies—that I drifted over to the newborns after their deliveries and didn't really want to read up on infertility or contraception. I was motivated to read about childhood illnesses and child development. For a year during residency training I made a commitment to write in depth about one patient each day. This came from the experience that as a physician (especially as a physician in training) we are privileged to participate intensely in the lives of children and families, often at times of the most extreme importance—birth, the diagnosis of serious illness, pain, or death—and then, oddly, we may never again see these people again. I wanted to honor these individuals. I wrote of them with respect and gratitude for their trust and teaching. A few poems have echoed those memories. I hope they have been honorable (of course names and details are changed).

How long did you work as poetry editor at The Schuylkill Valley Journal of the Arts? Were you working as a doctor and an editor at the same time?

I served as poetry editor for The Schuylkill Valley Journal of the Arts from about 2003 until I left Philadelphia to return to New Hampshire in 2008. The founding editor, Jim Marinell, a wonderful poet and kind, wise, human being accepted a few of my poems when I first began sending work out for consideration of publication. He was that rare editor who made a personal response to each submission including careful comments on each poem, comments that truly helped me shape poems. He was a guide and mentor to many writers. After Jim’s untimely death, in his honor, and with respect for Peter Krok, the current editor, I took on the title of poetry editor, though with a team of readers who read and ranked each submission without any author cover letter or other identification. It was a demanding process. I spent lots of time copying and collating work. I learned a great deal, though of course had less time to write.

And yes, I was, and still am, working full time as a pediatrician. Bill Wunder, the current poetry editor of SVJ does a fine job, with some assistance in reading, but has more editorial clout! A personal response from an editor is a rare and wonderful thing. I tried to be personal in my responses to submissions and to offer encouragement. As a new poet, I made a vow to write a grateful response to any editor who took the time to make a comment, even a negative blast or the single word, ‘sorry.’ I have often taken the short cut of sending postcards, but I do think even those quirky little bits of mail in my terrible doctor’s handwriting are appreciated. I also write to poets whose work I've come across and enjoyed or been moved by in my reading. I have quite a few correspondents around the world, of ages from nine to ninety, though, sadly, too many of my favorite editors and founders of small journals, like Jim Marinell, have passed away.

Sample Poem from Volume XXXIV


Kelley Jean White

 Essay Questions


Chose three of five:

 

1. Discuss the character of the mother in Book 1. How does her bedtime story of the rabbit and the lost meadow reflect the birth of the narrator and the family secret?

 

2. Discuss the symbolism of kettles in light of the coming of age theme.

 

3. In chapter 7, Nora Jean claims that Margo’s loss of innocence is the cause of Jeremy’s suicide. Do you agree? Is the narrator unreliable? Does your opinion matter?


 

4. History seems unimportant in the secondary narrative of Aunt Virginia’s courtship. Discuss 18th century cotton mills anyway.

 

5. The book does not deal with religion or business ethics. Choose another book you have read that does. Quote a specific page in this book. Note: you will be judged on the accuracy of your recreation of specific sentences as well as the spiritual principles you claim they espouse.

 

Short answer:

 

1. Compare and contrast the Northern Renaissance and the Industrial Revolution. Use at least three specific examples of coal from the narrative to demonstrate your understanding. Chose three minor characters and change their names.

 

2. If   x=(t) x (m) and y= f (m) x (h-t) calculate the price of coal.

 

3. Define maturity as it relates to your parents.

 

4. Choose your favorite food. Show how it undermines Jeremy’s suicidal intent and ultimate choice of weapon.

 

5. Imagine another ending for Book 7. Prove how that ending would make Book 8 impossible.

 

6. Consider the effect on the environment of John Doe’s execution by electric chair in chapter eleven. Will utility rates rise or fall? Illustrate your answer with specific bills your roommate has received.

 

7. Define the seventh word in the second paragraph of page 127.

 

8. How many words are on page 246? Why? Can any of these words be eliminated?

 

9. What synonym for charisma would improve your appreciation of the student seated in the front row of yesterday’s lecture’s tattoo?

 

10. Do you think this class should have met before or after lunch? Why?

 

11. Make up a definition of ‘truth.’ Prove the error of this definition based on the clothing worn by three of the girls in the class.

 

12. Professor Tanner wrote her thesis on the influence of Moroccan tile on the fast food industry. Why was she chosen to teach this course?

 

13. Show how the books in this course will enhance your likelihood of choosing a supportive life partner? (alternate: explain why your parents chose poorly.)

 

 

Extra Credit: Write your own novel of intrigue and sexual coercion. Get it published.

Sunday, November 17, 2013

Pushcart Nominees

Congratulations to the 2013 Pushcart Nominees from Volume XXXIV of The Worcester Review.
 
In order of appearance in The Review:
 
"Gutting" by Colin Dekkeersgieter
"The Fishing Village" by Dmitry Berenson
"Essay Questions" by Kelley Jean White
"In the Truck" by Fred Yannantuono
"Cool Jazz" by Fern G. Z. Carr
  
Best of luck to all nominees!