As many of you know, I’m a board member of CavanKerry Press, and I’m excited about the work done by this literary organization. During the COVID-19 pandemic, they’ve managed to maintain their staff and publishing schedule, while conducting various community outreach events virtually. They are currently doing a fundraiser which I encourage y’all to check out at their site along with their current collections. They also have some of their literary anthologies available for free electronically.
One win for the week was getting the laundry done just before the machines were replaced in our building. And when I say just before, I mean JUST before–like, I came back to get things out of the dryer and the washers were gone. And if this doesn’t seem like a win to you, we’re not living in the same pandemic.
Spent some time discussing Edna St. Vincent Millay’s sonnet “What lips my lips have kissed…” with my students this week. I shared my would-be-in-conflict-if-it-wasn’t-me ideas of needing to look into the tradition of the sonnet while also subverting it for their own contemporary ends–like seriously let’s shut down the tradition of sonnets centered around the male gaze and the needing to sound clever and Shakespeare-like and have sonnets about chanclas!!! One student contributed to the spirit of this by making us aware of a volta before the volta–volta meaning the turn in argument that a traditional sonnet has. While the standard volta happens at the line “Thus in the winter” where the poem’s image parallel of the lone speaker and lone tree comes into play, there is what I would term a minor turn earlier at the line “And in my heart…” where the speaker goes from looking outside to looking at what she feels inside. Check it out and see what you think 🙂
Been sharing the meme below with students. I share it with you hoping that if you feel called out, know that you matter. Let’s keep keeping it together together.
Taking a moment to help spread the word about CavanKerry Press‘ current reading period.
Throughout the month of August, CavanKerry Press is accepting submissions for poetry collections, nonfiction essay collections, and memoir. Selected titles will be published by CavanKerry Press and receive national distribution. Check out the complete guidelines before submitting your manuscript.
Since starting as a member of their Board of Governors, I have been impressed with CavanKerry Press’ interest in receiving more work from queer, trans, and BIPOC (Black, Indigenous, and People of Color) voices. With their LaurelBooks imprint, CavanKerry is also engaged with work from people living with physical and/or mental illness and disability.
I’m also happy to share that to better meet writers’ financial needs, CK has revised their submission fee to offer a “Pay what you can” structure, with $10, $18, and $25 options. This is an effort to further their ongoing mission as an inclusive publisher and will in no way impact consideration of your manuscript. There are also a limited number of free submissions for writers-in-need on a first-come, first-served basis.
This particular community feature post is inspired by a recent development: I’m happy to share that I’ve been named as a member of the Board of Governors for CavanKerry Press! I’m excited to join as a new board member, along with Cornelius Eady, and help develop the already dynamic CavanKerry Press community. Special thanks to Gabriel Cleveland and Dimitri Reyes for their enthusiasm and support in bringing me on board!
In a phone conversation with Joan Cusack Handler, publisher and senior editor of CavanKerry Press, I learned about the different ways in which the press is creating community, including sharing some of their anthologies for free online during the month of April. Both volumes of The Waiting Room Reader as well as the Words to Keep You Company anthology are being made available as free PDFs on the CavanKerry website. Writers in these anthologies include Ross Gay, PaulA Neves, Maxine Kumin, Tina Kelley, Kevin Carey, Vincent Toro, and Linda Pastan among others.
Below, I share a sample poem from The Waiting Room Reader II, “The Inheritance” by Myra Shapiro. What moves me most about this poem is how it enters into an elegiac conversation in an unexpected way. The first four lines present the logic of grapefruit-as-talking-baby doll, and then builds from there back into the reality of the moment. This quick invocation of the mother in four lines sets up the rest of the poem in which human presence is acknowledged as being available to us in the actions and habits we learn from our parents. The short lines and images allow the meditation to develop in a way that continues to be surprising precisely by not trying to be. The facts of the speaker’s experience are laid out clearly, and what makes them surprising is the juxtaposition of phrase and image. The speaker moves from the hypothetical “Mama” of the opening lines, to her own mother, to being a mother herself. Here, we see the generations pass, each different yet similar, and each evoking the next in the poem. One returns to the title’s idea of “inheritance” and sees it expanded beyond the material meaning, the speaker realizing their own inheritance in the patterns of everyday life.
Just a grapefruit
but it never fails
to make the word Mama
when I cut it,
store the half uneaten
flat against the plate,
pink meat down
so that tomorrow
when I eat it it’s as juicy
as today. Washing fruit
she taught us but never this.
She just did it. Saved
the fruit against the plate.
As I do. As I saw it done
in my daughter’s house this morning.
Check out more from these anthologies and learn more about CavanKerry Press here.