Archive for February, 2012


Why You Should Purchase Copies of Your Poetry Book From Your Publisher

If your book gets published, it is a good idea to purchase copies of your own book. Yes, you will get some free author copies, but those aren’t really enough. Besides, you should also get a generous author’s discount on purchases of your book. So  why you should purchase copies of your poetry book from your publisher? Here’s a short list in no particular order:

  1. You should support your publisher. This is done for a few reasons. One to help them recoup costs so they can print other poets. Besides, they have faith in your book, so give a little back for that faith. Plus, the publisher might remember this when your next book is looking for a publisher. But the reason is more of the former.
  2. You will want to have copies to sell at your readings. This is where you will really make your money. You will get an author discount when you purchase your copies. That discount should be at around 50%. When you sell them at retail price, you will make double your money back, which at the time will be enough to buy a good dinner, a good bottle of wine, or some one else’s collection of poems.
  3. You can sell copies to an independent book store on consignment and make some money. You won’t make as much as at a reading, but you will make some. The general consignment rule is 60/40. If your book is retailed at $10, the bookstore should give you $6 for every sale. (You will have to come back at some later time to collect the money.)
  4. You will want to  have copies to swap with other poets. This will happen a lot, and it’s a good way to start, establish, or continue a friendship with a fellow poet. Giving is always good, and swapping is even better.
  5. You will also want to have copies to give to some one you like or appreciate or to give to a poet you admire. Maybe you will meet someone and have a good time with them. A good end to that good time is to give them a copy of your book, but only if it comes up in conversation that you have a book. (You shouldn’t just randomly give them a book. That’s awkward.) You will also want to give copies to those teachers you admire or who stimulated you or supported you. I do. It feels so good. I think those teachers appreciate it, too, since they get to see something for all the time they put in. They will be happy. And most important, you will want to send copies to those poets who you admire and that shaped and affected your poetry. W. S. Merwin and William Heyen have copies of all my books. (Also, you can give a copy to someone you want to impress. Like someone you are attracted to and want to win over.)
  6. You will want to have copies to give to family members. Sure the family should be supportive and purchase copies, but, hey, it’s your family. They love you. They support your enough already. Give them a copy. (The same holds true for close friends.)
  7. Your publisher may or may not send out review copies of your book. If they do, there may be some places you can think of that they did not. Perhaps there is a journal you frequently appear in. They might want to see a copy of your book. Since they published you a lot, they must like your poetry. Thus, they are a good place to hope for a review. Or maybe you know a reviewer, so you should send them a copy. Really, you just want to get your book out there. You want as many people to read your book as you can. Your poems want to change and/or save lives.
  8. This following reason is probably the most important  reason: You will want to have copies to sell after the publisher is sold out. Most likely there will only be one print run, so get as many copies as you can to last you for the rest of your life because the book will most likely never be printed again. In other words – HOARD. You’ll thank me for this when your seventy and you want to give a copy of your first book to someone who you currently don’t even know exists.

Here’s some additional advice. If you win a contest, use at least half the prize money to purchase copies for all the reasons above. Plus, at this rate, they are free because you’ve got all this new, unexpected money.

Basically, it comes to down to supporting and sharing. And when your older, it will come down to sentimentality. Your children might want copies. And if you are successful, so will some biographer. But, basically, you will want to hold the book in your hands. If you are like me, you will want all of your books on display at your funeral. At my funeral, I’ll have all my books on display and each issue of Redactions on display. It will be my opus. People will be able to see what I created and left behind.

No one is too big for this advice.//


In Pursuit of the Juiciest Wine: Day 109 – Chateau de Ribebon Bordeaux Supérieur 2009

Chateau de Ribebon Bordeaux Supérieur 2009Tonight’s wine is Chateau de Ribebon Bordeaux Supérieur 2009, which is $14 at Mahan’s Liquor in Brockport. This is an affordable Bordeaux, which is like an oxymoron, but it’s “Supérieur,” which means it has attitude. Therefore, I assume this wine is going to try really hard to prove its worth to me. You know, it’s going to try and impress me with some sleight of hand tricks. Or maybe its just confident and knows what its all about. Its like, “I’m know I’m good, damn it!” and then it snaps its fingers. I hoping for the latter . . . I think. Either way, there’s going to be attitude.

This Bordeaux is 60% Merlot, 30% Cabernet Sauvignon, and 10 % Cabernet Franc. Usually, I think, Bordeauxs are more Cabernet Sauvignon than anything else. So odd.

The color of the wine is deep claret. Well, that’s what the back of the bottle says. I don’t think I’ll disagree.

Here’s what the whole back of the bottle says:

Variety :

60 % Merlot, 30 % Cabernet Sauvignon, and 10 % Cabernet Franc.

Color :

Deep Claret

Nose :

A gently perfumed nose of blackberry, cherry, and cassis fruit and chocolate layers with some spices and cedary notes.

Palate :

This stylish wine shows elegance and concentration with brooding fruits, delicate tannins, and cedary, integrated oak.

Complex and inviting, the structure is fine, the fruit intense, and the finish persistently long.

Assessment :

Great wines produce by Alain AUBERT (6th generation of Aubert producing wine in the region) and his daughters.

They are also producers of the famous Château La Couspaude and Château Haut-Gravet in St. Emilion.

(“St. Emilion” means they are from east Bordeaux, or the right bank.)

When I poured this into the decanter, I picked up lots of berries on the nose. The odors just wafted up. I picked up a bouquet of flowers, too. I have a feeling it has decanted enough. French wines tend to need time to breathe to open up, but we’ll see.

(I’m did my tasting notes before I read the back label, except for the color part and the blend infromation.)

So the nose. The nose has dark berries and a deep, dark forest. I also get dark chocolate. A salty, dark chocolate.

The taste is mild, but this may be because I’ve been drinking Cabernet Sauvignon almost exclusively for the past week or so. Actually, there’s not much happening on the palate. This maybe why I lean to new world wines instead. They are bigger and more pronounced. This old world wines are more subtle. So subtle they don’t even pronounce the “b” in subtle.

The more I swirl it, though, the more it opens. I’m getting dark cherries and dry raspberries and dry blueberries. Oh, and earthy, too.

The finish is chalky, which may mean it needs a little more time to open up.

I’m barely picking up the chocolate that is mentioned on the back-label tasting notes.

This wine is ok. It stands up. It’s not great, and it’s not bad. It’s ok, and it has no attitude.

It does get juicier the longer it’s open. The cherries come out more, and the dry raspberries and blueberries are no longer dry but are juicy.

I’ll say 88 points.//


First Brief Notes on Paleopoetry

I stumbled upon this image just a moment ago.

Woman with Horn

It’s called Woman with Horn. (There may be other names, but that’s what I’m using.) I found a decent brief description of this Woman with Horn carving:

This limestone image of a female carved into the cliff wall at Laussel, in the Dordogne, in France, carries an object that perhaps is a horn, or, by virtue of its lunette shape, might evoke the moon. It dates to roughly 20,000-18,000 BCE, and seems more imposing than its mere 17 inches of height. (Nature and Society)

There’s a lot more to it than that, as I remember from studies, and I think I get to some of it in this poem, which I wrote sometime ago.

All Objects Contain History in this House
after Louis Zukofsky & W. C. Williams

The pregnant lady
on the wall,
she lived here
first. Her left arm broke.
Too brittle
we assume.
We feel sorrow
for her
fingers reach
only inches
above her navel.
No farther. A bit longer
is her right arm
& strong.
She stands with her elbow cocked
as if to throw
the crescent moon
to the end of the year.
We can tell.
She looks
forward with the stone stance
of determined aim,
the crescent has thirteen scratches
made with intent
& a blade.
The marks obviously
are for the passing year’s
every new moon.
Her expectant face
though is blank. Not without
totally but flat
as the wall.
We barely
notice her breasts
to her wrist
& stretch marks.
Her right nipple
also has broken off,
we can’t explain that,
but we can understand
why she wants to throw
away the past.

I started that poem in October 2003 and finished it on April 27, 2007. It now appears in Poems for an Empty Church (Palettes & Quills Press, 2011). If you like that poem, you’ll love the book because the other poems in it are even stronger.

I wanted to share that poem tonight for two reasons. One, I had forgotten about the above sculpture for a long time, and when I saw it, I remembered I wrote a poem about it. So there it is. Two, this is an early attempt at what my friend (Christine Noble) and I are calling Paleopoetry. Clayton Eshleman got there first, and he’s the man, but we are doing it differently. Except for this poem, I think the neo-Paleopoetry (where Eshleman is Paleopoetry) is more imaginative in the direction of the human spirit and soul at the time those Paleolithic artists existed. This neo-Paleopoetry likes to branch out into everything we can find and imagine and that made us human and how we became human. It about how we came to invent things like dolls and burial and cooking. And how the invention then turned back on the inventor and the spiraled outward to humanity and culture and fear and death and love and metaphors and sex and . . . . What it’s really about is living and the beginnings of living and the beginnings of the creative processes and imagination. The above poem isn’t really like that, or not much, but these new ones my friend and I are writing are. Maybe I’ll share some more as time goes by.

Additionally, Paleopoetry is also good place to also continue my explorations into investigative poetry. If I can study the Paleolithic era with enough integrity and write about it well enough, then the Paleolithic era will connect all people at all times. It will become a lense through which I see life and the universe and that I hope others will use to do the same.

I hope to have more detailed thoughts on this as I progress. I just wanted to get those first thoughts out there so I can remember to think about it and come back to it.//


Super Bowl XLVI Prediction

I woke up early this morning for a reason I don’t remember, and then I couldn’t fall asleep. I had many thoughts keeping me up, and two of them were about football. One was that I thought the New York Jets should go after Peyton Manning. I mean, the Jets need a quarterback and Sanchez needs a mentor. Plus, I think the NFL would love it if both Mannings were in New York. Later in the day, on the Colin Cowherd show, someone also suggested the Jets should think about Manning. That same person also thought of the 49ers, as many others have.

The other thought that raced around in my mind as I tried to return to that beautiful world of sleep was the Super Bowl. Who will win? The New England Patriots or the New York Giants?

Super Bowl XLVI Giants vs Patriots

My first thought was the New York Giants. I thought it will be similar to the last Super Bowl where they played each other, but there will be a little more scoring. But then I thought the Patriots would win because when two teams face each other in the regular season and then meet in the Super Bowl, the team that lost the regular season game wins the Super Bowl more often than the team that won the regular season game. Plus, Bill Belichek appears real loose and confident. Surely he’s up to something. Plus, the Patriots defense is better than it appears. They let up yards, but not too many points.

But here is what I think will happen. I think the Patriots will start the game by running screens, draws, and play action passes to slow down the aggressive New Giants defensive line, but the Patriots won’t be very successful. While they are trying to do that on offense, the New York Giants will get two quick passing touchdowns as they expose the weaknesses in the Patriots secondary.

Now, the Patriots will be down 14-3, and then they will revert to their typical playing style and make a slow but aggressive come back. After three quarters, it will be 17-17.

This is when the Patriots offensive line will become tired and the Giants defensive line will become energized and aggressive again. They will start hitting Tom Brady. The Patriots won’t be able to sustain drives. Then the Giants offense will come to life again, and the score two more quick touchdowns. Midway through the fourth it will be 31-17.

The Patriots will fight back, but it won’t be enough. The Giants will win 34-24.

I think the Giants offense is pretty good, and better than any offense the Patriots have faced in the playoffs. I imagine Super Bowl kind of like the Patriots/Ravens game, but a Ravens team that has an offense. I mean, the Ravens could have won that, but the Giants will.//


Footage from Rob Carney’s Brockport Reading (1-28-12)

On Saturday, January 28 at A Different Path Gallery, Brockport, NY, and really all of New York were introduced to the presence and voice of Rob Carney for the first time. It was a fun reading, and here’s the beginning of the reading.

Rob Carney is the author of number of books, including Story Problems (Somondoco Press, 2011),  Weather Report (Somondoco P, 2006) and Boasts, Toasts, and Ghosts (Pinyon Press, 2003), winner of the Pinyon Press National Poetry Book Award — and two chapbooks, New Fables, Old Songs (Dream Horse Press, 2003) and This Is One Sexy Planet (Frank Cat Press, 2005). His work has appeared in Mid-American Review, Quarterly West, and dozens of other journals, as well as Flash Fiction Forward (W. W. Norton, 2006). He lives in Salt Lake City. To hear an interview with him, the Poet Laureate of Utah, Katharine Coles, and the editor at Sugar House Review, John Kippen, click here. He is also a former guest editor of Redactions: Poetry & Poetics.

The Cave (Winner of The Bitter Oleander Press Library of Poetry Book Award for 2013.)

The Cave

Poems for an Empty Church

Poems for an Empty Church

The Oldest Stone in the World

The Oldest Stone in the Wolrd

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Pre-Dew Poems

Pre-Dew Poems

Negative Time

Negative Time

After Malagueña

After Malagueña

Enter your email address to subscribe to The Line Break and receive email notifications of new posts.

Join 2,877 other followers

February 2012


The Line Break Tweets

%d bloggers like this: