Posts Tagged ‘BkMk Press

27
Jan
17

On Bonnie Bolling’s The Red Hijab

A version of this review (and a better edited version) may appear in a future issue of Redactions: Poetry & Poetics.

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bonnie-bolling-the-red-hijabBonnie Bolling’s The Red Hijab (BkMk Press, 2016, and winner of the John Ciardi Prize for Poetry) is set in Bahrain, a kingdom of more than 30 islands in the Persian Gulf between Saudi Arabia and Qatar. According to H. L. Hix’s “Foreword,” “Of what happens in the Middle East, most North Americans receive little word except from what news media present. Consequently, the readily available image of the Middle East is biased toward conflict and violence” (7). Bolling, who lived there for several years, provides a unique view of Bahraini culture, an insider’s view, a journalistic view but with empathy.

The first image of empathy occurs in the opening poem, “The Red Hijab.” After describing an ancient area in the Persian Gulf (perhaps Diraz) with an “abandoned double-wide” trailer, a “tangle of razor wire,” stray cats, dirty windows, and a man “wrapped in a potato sack” picking through the trash, a woman appears walking in the rain with a laundry basket and an umbrella. Images like this of people trying to go about their daily business and tasks occur throughout the book, but here, in the poem “The Red Hijab,” a housemaid wears a “red hijab.” It immediately, at least for me, conjures images of the girl in the red coat from Schindler’s List. In that movie, the girl in the red coat enables Schindler to fully understand that the Holocaust is happening around him, and she inspires him to do everything he can to stop it and to save as many Jews as possible. Bolling, who I assume is the speaker in these poems, however, does not act as a savior. She also does not try to simplify or generalize the Bahraini culture, as western news media might. Bolling’s observation of this housemaid allows us to see a side of life we may not hear about in North American media. In effect, Bolling becomes something like a journalistic embed, who “stand[s] on the corner, leaning next to the sign / that says in three languages: no uncovered women allowed / adjusting and re-adjusting my black hijab, me [a white, female, United States citizen] / on this narrow, broken footpath keeping my silence and distance” (“In Diraz” 7). The woman wearing the red hijab is the reader’s entrance point into the book and Bahrain.

As part of her journalistic acclimation, Bolling uses cultural signifiers, such as Bahraini foods and words like hijab, azan (a call to prayer five times a day by the muezzin), muezzin (the crier who calls for azan from a high part of a mosque at stated hours), Shahada (the Islamic profession of faith), Shamaal (a northwesterly wind blowing over Iraq and the Persian Gulf, which is often strong during the day but weaker in the night), among others, as points of cultural exchange, or at least points of cultural encounter. The encounter for the reader is the disorientation he/she feels when experiencing the unfamiliar and looking for a translation (as I did above with Dictionary.com). This defamiliarization helps the reader shake off the stereotypes of those who live in the Middle East. The speaker must have experienced something like this, too, but now these signifiers are familiar to her. With all this said, one may wonder if Bolling is just wearing a comfortable mask – trying to act like Bahraini while holding on to the security of her white, American privilege. In part I, this may seem the case, but later we realize, part I was just a tour inside the walls of Diraz, and an intimate tour as we sometimes feel the “Oh, we want it all, don’t we?” (“Above the Azan” 28) judgmental disdain some Bahraini have of American tourists.

Perhaps the thematic thesis of part II is best stated in “Gathering Plumeria,” the last poem of section I, when the speaker says, “I am taking / it all in, every side because stories / from the heart don’t lie” (32). By taking the reader behind the walls, deeper into the community where she lives, Bolling introduces us to a few of its citizens and tries to get inside their hearts, such as a woman at home, a young man who will suicide-bomb a coffee shop, “young boys wearing black” harassing an older man because they are bored, and a family whose father’s tongue was cut our and the people who cut it, among others. In “Stars, Moon Rooster” (37), one of the poems I return to most, Bolling, referring to herself in the third person, walks at night and looks into a “house with linoleum,” where she sees a woman and imagines what the woman is feeling and thinking. Using the same third-person “she” to describe herself, Bolling shifts into the woman thinking about hope and how a new born baby is “the embodiment of hope,” until the baby is “thrust / into the arms of another,” and how over the years of life hope “doesn’t matter so much.” Eventually, the wind wakes her from trance, and she returns to her own night journey.

One might consider this presumptuous to assume what someone else is thinking. Perhaps they would be correct. However, she lived in the community for quite some time and observed and listened to the people. She was a poetic embed, unlike the disembodied “they” providing commentary and generalizations. Frequent phrases in section II are “they say,” “they are saying,” “someone says,” and other variations, and this “they” often makes statements about the Bahraini. Because we don’t know who the “they” is, the statements become almost Orwellian. For instance, in “A Silencing” (49-50), the poem opens with an active voice describing the speaker cooking a meal, then there is the volta “Deep in the village / the blind rooster’s / crowing.” This volta hinges on the apostrophe in “rooster’s.” Do we read “rooster’s” as subject and verb, “rooster is,” or as possessive, “the crowing of the rooster”? Perhaps both as the poem then segues into “This village / is said to be ancient.” This sentence is in the passive voice, as we don’t know the subject, or who is doing the saying. It’s just stated, and the reader wonders if that voice is the same as the next sentence’s voice, “Been the same for centuries, / they say, except for air conditioning.” The community’s character, personality, and culture are anonymously inscribed. This unknown speaks for its citizens. Even the local news realizes that “Someone from outside is fooling them / into going up against each other,” where the “someone” is the unknown voice and the “other”s are at times the young and the old. That “someone” is so strong, it can command young people to cut out the tongues of old people:

     Then, they were on him.
     Do it, someone said, do it now.
     So they did it with scissors.
     They cut-out his tongue –

In essence, the unknown “they” and “someone” are performing a type of erasure on its citizens by telling them what they are and not allowing the citizens to have an ability speak back, while at the same time also erasing their religion, as evidenced by cutting out the tongue of a man who memorized the Qu’ran.

What Bolling does in section II’s other poems and throughout the book’s poems is to give voice to the people who have been erased or overwritten. Through her journalistic end-paused and end-stopped lines (there is very little enjambment in these poems), and her movements between physical and psychological realism, she allows us to read below this anonymously created palimpsest to reveal more than “conflict and violence” and to show how

                       so many stories separate us.
     So many nations.
                       We search our tongues,
     desperate for a phrase, some scrap
                       of language or utterance
     that will allow our worlds
                       to come together for a moment (“Only Bread, Only Water” 51-3),

Perhaps this is why we hear a rooster announcing morning so often in The Red Hijab. It’s a language we all understand, as well as the food and love that persist throughout this collection of poems.//

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Bolling, Bonnie. The Red Hijab. Kansas City, MO: BkMk Press, 2016.

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16
Jun
12

Presses with Open Readings for Full-Length Poetry Manuscripts

In the past, I have created such lists as all the Small, Independent, and University Press Poetry Book Publishers (which was up-to-date as of 3-6-10 with 687 presses) and all the Journals with “Review” in Their Title, Who Accept Poetry, and Who Have a Website (which was up-to-date as of 2-29-12 with 344 journals.) The first lists I made were Poetry Book Contests with Spring & Summer DeadlinesPoetry Book Contests with Fall & Winter Deadlines (scroll down), and Poetry Chapbook Contests (scroll down).

Now, it’s time to start a new list, and I’ll keep it here and I’ll update it as I can. Currently, these are the only ones I remember or that other kind people have reminded me of. The list will grow, and if you know of any open readings, please note them in the comments and I’ll add them to the list. I’m trying to limit this list to free readings, but I’ve listed a few that charge a reading fee.

Presses with Open Readings for Full-Length Poetry Manuscripts

All the Time Open Readings (last checked and updated 7-16-17)

January Open Readings
February Open Readings
March Open Readings
April Open Readings (last checked and updated 4-2-18)
May Open Readings
June Open Readings (last checked and updated 6-5-18)
July Open Readings (last checked and updated 7-16-17)
August Open Reading (last checked and updated 8-1-17)
September Open Readings (Last checked 9-1-17)
  • Arktoi Books (lesbian poets) (At the moment, Arktoi is not accepting submissions.)
  • Bat Cat Press (“We welcome the submission of complete manuscripts throughout the year. We read in the fall (September-December) and typically send out accept/decline letters in December and January.”)
  • Cherry Castle Publishing (“Our submission period is currently closed.”)
  • McSweeney’s Books (“The McSweeney’s Poetry Series is taking a temporary hiatus from accepting submissions. We hope to open things up again before too long.”) Checked 9-1-17.
  • Sidebrow Books (Through October 31, 2017. “In lieu of a reading fee, we are asking each of you to kindly support our press and authors by buying the book of your choice from our catalog in conjunction with this reading period.”)
  • Tarpaulin Sky Press (“Will we open for unsolicited submissions again, anytime soon? Most likely. But we’re not sure when.”)
  • University of Pittsburgh Press (Pitt Poetry Series. For poets who have previously published a poetry book.)
  • Willow Books (2017. $25.)
October Open Readings
  • Arktori Books (lesbian poets)
  • Bat Cat Press (“We welcome the submission of complete manuscripts throughout the year. We read in the fall (September-December) and typically send out accept/decline letters in December and January.”)
  • Black Ocean (“We are currently accepting submissions *for first poetry books* only from October 1 through October 31, 2017.”) Checked 6-5-18.
  • Carnegie Mellon University Press (Not open to previous Carnegie Mellon University Press Poets. $15 reading fee.)
  • CavanKerry Press (For Laurel Books, Emerging Voices, and Notable Voices imprint only. $20 reading fee.)
  • McSweeney’s Books (“The McSweeney’s Poetry Series is taking a temporary hiatus from accepting submissions. We hope to open things up again before too long.”) Checked 6-1-17.
  • Milkweed Editions
  • Nine Arches Press (October 1-31, 2018.)
  • Sidebrow Books (Through October 31, 2017. “In lieu of a reading fee, we are asking each of you to kindly support our press and authors by buying the book of your choice from our catalog in conjunction with this reading period.”)
  • Steel Toe Books (with purchase of one of their books)
  • Tarpaulin Sky Press 
  • Tavern Books: The Wrolstad Contemporary Series ($25 reading fee. “Open to any woman aged 40 years or younger who is a US citizen.”)
  • Unicorn Press (April 1 – June 30 and October 1-December 31.)
  • University of Pittsburgh Press (Pitt Poetry Series. For poets who have previously published a poetry book.)
November Open Readings
December Open Readings
  • Bat Cat Press (“We welcome the submission of complete manuscripts throughout the year. We read in the fall (September-December) and typically send out accept/decline letters in December and January.”)
  • Brick Road Poetry Press (75-100 pages. December 1 – January 15.)
  • CavanKerry Press (For Laurel Books, Emerging Voices, and Notable Voices imprint only. $20 reading fee.)
  • Future Poem Books (November 15 through December 31.)
  • H_NGM_N BKS (with $10 reading fee)
  • Mason Jar Press ($4 submission fee)
  • Tavern Books: The Wrolstad Contemporary Series ($25 reading fee. “Open to any woman aged 40 years or younger who is a US citizen.”)
  • Tinderbox Editions (December 1-7 fee-free open reading period. December 8 – January 30 $22 donation period.)
  • Unicorn Press ((April 1 – June 30 and October 1-December 31.))
  • WordTech Communications (Includes the following imprints Cherry Grove Collections, CW Books, David Robert Books, Turning Point, Word Press, and WordTech Editions. Closes December 15.)
More to come.
Ultimate update: 6-5-18:
  • Added Paloma Press to June.
  • Added Muriel Press to June and July.
  • Removed Brooklyn Arts Press.
  • Removed Mason Jar Press.
Penultimate update: 6-1-18: Added Terrapin Books to February and August.
Antepenultimate update: 4-2-18:
  • Added Wordley Press to April.
  • Removed Coconut Books
Preantepenultimate update: 9-18-17 added Sidebrow Books to September and October.
141 presses that print paperback and/or hardcover poetry books.//



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

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