Posts Tagged ‘Tom Holmes

18
Oct
16

Poetry Assignments: The Book (Online): Finding the First, Discovering the Middle, & Chasing the End

POETRY ASSIGNMENTS

Brian Warner's The Cave

“The Cave” by Brian Warner. Used with the permission of Brain Warner.

or 100 Jackhammers for the Poet with Writer’s Block;

or 100 Ways to Jumpstart the Engine;

or 100 Pencil Exercises;

or 100 Ways to Stimulate Your Next Wine, Cheese, & Poetry Night

//

Between 2002 and 2006, or so, I composed, borrowed with permission, or modified 100 poetry writing prompts. A publisher approached me to publish this collection of poetry prompts in book format. All the credits and permissions were gathered (and at times paid for) from writers, publishers, artists, and museums, but, alas, the book did not come to be.  Anyway, I will reproduce the book here at the rate of one or two chapters each week, along with credits and permission statements.

//

Author’s Note

Poetry Assignments first appeared around 2002 as an email to a few friends to inspire us to write and to have something to share at our wine, cheese, & poetry nights. The first one was “The Reader’s Digest Experiment.” Eventually, the assignments went online at the Redactions: Poetry & Poetics complemental website, www.redactions.com. Each time a new assignment was posted it got a number, with the first one being #1 and the last one #100. As I posted the assignments, almost one per week, there was rarely a connection between the assignment posted, the one preceding, and the one that would follow. In this book collection, however, I have grouped the assignments by theme.

These assignments were also written in a similar manner to writing a journal. There has been little rewriting, other than correcting typos and the such. As a result, there will be inconsistent idiosyncrasies that change based on how I changed through the book’s composition. In addition, I have kept time references in their original state. I hope the reader can realize the book was new at the time of the writing and will continue to understand the nature of this journal.

I hope these assignments provide inspiration for writing and new ways of thinking about writing, especially fun ways. I hope the aesthetic responses in part two provide you with new ways to think about poetry and to help you see how other poets view poetry.

Okay. Enough said.

Go Forth!

//

With special thanks to contributors, Laura Hinschberger, and Thom Caraway.

//

Table of Contents

Introduction

  1. Finding the First, Discovering the Middle, & Chasing the End
  2. Imaginary Worlds
  3. Science, the Universe, Time, & Other Evolutions
  4. Fun with Letters, Words, Language, & Languages
  5. Forms: Obscure, Updated, & Invented
  6. New School; or Double Vision; or WWI (Writing While Intoxicated) & Its Repercussions
  7. Miscellany; Trying to Relate the Unrelated; or These Gotta Go Some Place . . . So Here
  8. Stupid Money, Dumb Politicians, & Celebrating America
  9. Responses; or Calling All Poets (Dead & Alive); or Talking to Eternity
  10. It’s All About You

//

Finding the First, Discovering the Middle, & Chasing the End

a: First Words Are So Hard

[This assignment arose from a Michelle Bonczek idea, and is used with permission.]

Take a poem . . . any poem. Ok.

Now get rid of every word in the poem except the word that starts each line. With the word that starts the first line of the old poem, start a new first line of a new poem. With the first word in the second line of the old poem, start the new second line of the new poem, etc.

For example, take the poem by Frank O’Hara “On Rachmaninoff’s Birthday,” from Lunch Poems (City Lights, 1964), & use only the first word of each line to start the lines of the new poem.

   Quick! [insert rest of new line]
   off [insert rest of new line]
   Onset, [insert rest of new line]
   playing [insert rest of new line]
   of [insert rest of new line]
   into [insert rest of new line]
   junk [insert rest of new line]
   I’m [insert rest of new line]
   miserable [insert rest of new line]
   of [insert rest of new line]
   amethyst [insert rest of new line]
   is [insert rest of new line]
   on [insert rest of new line]
   You’ll [insert rest of new line]

b: End Words Are So Difficult

With the same idea in mind . . . erase all the words in the poem except the last word of each line & then fill in the line with your new words.

For instance, take Charles Wright’s “Silence Journal” from The World of the Ten Thousand Things: Poems 1980-1990 (Farrar, Strauss and Giroux, 1991).

   [insert rest of new line] vowel
   [insert rest of new line] fall
   [insert rest of new line] us
   [insert rest of new line] moon
   [insert rest of new line] snow
   [insert rest of new line] holds
   [insert rest of new line] text
   [insert rest of new line] true

Note: this poem has no punctuation.

//

Bed Time

This poem will be about the first sleep of humans.

This idea came to me after seeing Pierre Puvis de Chavannes’ painting “Sleep” at The Met in NYC (www.metmuseum.org).

Pierre Puvis de Chavannes’

Pierre Puvis de Chavannes’ “Sleep.” The Metropolitan Museum of Art. Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 (30.95.253). Pierre Puvis de Chavannes’ “Sleep”. Image © The Metropolitan Museum of Art. Used with permission.

It might also be useful to recall the following lines in Virgil’s Aeneid: “It was the time of first rest for tired mortals” (ll 268-69).

Of course, you might want to sleep on this assignment first.

//

Do You Hear That?

[This assignment arose from a Michelle Bonczek idea, and is used with permission.]

You are to imagine you are the first person who discovers Niagara Falls.

You are to imagine what you were doing to lead you to the falls in the first place – the experience of approaching & seeing the falls – & maybe even to tell of the after effects of finding the falls, such as trying to tell your friends about your discovery.

Ok. Go Forth!

//

The Book of Firsts

This assignment was inspired by “a 35,000-year-old flute made from a woolly mammoth’s ivory tusk [that] has been unearthed in a German cave by archaeologists.”

Part I of this assignment: write a poem about that flute, the people who made it, & the people who played it.

Part II of this assignment: continue writing about firsts, such as the first sleep (See “Assignment: Bed Time”), the first one to discover Niagara Falls (See “Assignment: Do You Hear That”), the first one to discover fire, socks, wine, beer, pizza, or whatever. When you are done, you could have a wonderful manuscript you could call “The Book of Firsts.”

Here’s the article on the flute:

Ice Age ivory flute found in German cave

(BERLIN) – A 35,000-year-old flute made from a woolly mammoth’s ivory tusk has been unearthed in a German cave by archaeologists. The flute, one of the oldest musical instruments discovered, was pieced together from 31 fragments found in a cave in the Swabian mountains in southwestern Germany.

The mountains have yielded rich pickings in recent years, including ivory figurines, ornaments and other musical instruments. Archaeologists believe humans camped in the area in winter and spring. The University of Tübingen said it planned to put the instrument on display in a museum in Stuttgart.

Source: Reuters (10 December 2004)

//

Invention of the March Hare; or April is the Cruellest Month Marinating Hasenpfeffer; or Invention of May’s Dinner

Ralph Black came up with the idea of invention poems . . . or so he thought. Seems Cole Swenson beat him to it in Goest (Alice James Books, 2004). But alas, a poetry assignment can be had, plus options. So here we go.

When Swenson does her invention poems (with titles like “The Invention of the Weathervane” or “The Invention of the Mirror” or “The Invention of the Pencil” or “The Invention of the Night-Watch”), she seems to go at the invention in a somewhat direct manner, but imaginatively.

When Black does his invention poems (with titles like “The Invention of Cathedrals” or “The Invention of Angels”), he tries to create a scene for the need of something, or how something might have arisen. With the angels, he is writing a poem in present times, though obviously angels have already come to be. But he gives rise to their need.

As Black said in an email, “Seems to me that such poems are a big part of a current crop of ‘Myth poems’ – which has as much to do with tone as anything else (witness Merwin’s poems in The Carrier of Ladders or The Lice).”

So we will write invention poems using either, or both, strategies. The first assignment, though, will be to write about the invention of the poem – my knee jerk reaction is that you would have to incorporate both strategies into that poem. Yeah, & let’s give it a mythy tone. Oh, the possibilities are endless, & thus a book of inventions is possible.

Go Forth. Be Thomas Edison with the poem.

//

A Timely List of Firsts

Ok. So you just wrote a poem about the invention of the poem. Excellent. Now you are to pretend you are that first person writing the first poem & write the first poem that has ever been written.

Now you will pretend you are the person writing the first poem in the year 0 & write the first poem of the year 0. (Yea, I know there is no 0 year. It goes 1 BCE then 1 AD. But this will make it more fun.)

When that is done, you will do the same for the year 1000.

When done with that, you will do the same for the year 10,000.

And when you are done with that, you will imagine everything is done. Yes, you will write the first poem that is written after the universe freezes, contracts, explodes, or gets recalled for maintenance by some higher entity.

//

a: Bottoms Up

[This assignment & its sub-assignments were inspired by Melissa Rhoades’ idea, and is used with permission., and is used with permission.]

Write a poem from the last line to the first line.

b: The Greek Twist

The Greeks used to write their plays by writing the ending first & then writing from the beginning & wrote to get to the already made end (that is, as far as I have understood how they write).

Let’s try that with a poem. Write the last line first, & then start on the first line & write to the end.

c: Amateurs Borrow. The Great Ones Steal

Steal the last line from someone’s poem & then write your own poem to the stolen end.

I suspect it’s best not to use the last line from too famous a poem. I suspect you don’t want your last line to be:

   And miles to go before I sleep.

But maybe:

   Between a sleep and a sleep.

                                 (from a Swinburne chorus in “Atalanta in Calydon.”)

Ok. Good Luck!

//

. . . But who will be my audience?

Imagine the world is going to end soon. Perhaps an asteroid is about to crash into the earth. Perhaps a big plague is killing everyone. Perhaps global warming has burnt the planet dry. Or perhaps it’s not the end of the world. Perhaps everyone has stopped reading & writing.

Now imagine you are writing the last ever poem. The last poem on Earth is yours to be had. What could possibly be said at that point? Of importance? Who would care? Why would you care to write the last poem? Who would publish it? Nonetheless, you are motivated to do so.

So go write the last poem on Earth. You can pretend you are the last person or creature on Earth if you wish, but it isn’t necessary.

For example, consider “Notes Toward the Last Poem on Earth” by Mike Dockins.

   NOTES TOWARD THE LAST POEM ON EARTH

   The air-raid sirens are silent.
   No thin layer of ash covers the town.

   The corners are not speckled with metal-band bullies.

   The townsfolk only wish they’d glimpse
   a mugging, pass a squashed frog,
   catch a raccoon tumbling into a garbage can.

   Gaggles of frat boys read Nietzsche,
   stare reverently into abysses.

   Even the coffins lack menace.

   There’s nothing sinister about the idling schoolbuses,
   nothing risky in the melodies seeping from Jeeps.

   The last Italian sonnet, in shreds, has fallen into a trash can.

   Every sock is saved from the dryer,
   & car keys hang on their hooks in plain sight.

   All the ferries arrive on time.

   Cellular phones idle on hum,
   & the whining of mosquitoes barely ripples the swamp.

   The barbershop teeters between open & closed.
 
   No one’s heart has burst on the 14th hole.

   The final haiku is adrift on the Sea of Japan.

   Mars is not even in its retrograde.

   That Jupiter’s Great Red Spot is a storm
   twice the size of Earth impresses no one –
   not mail carriers, cosmonauts, pool sharks,
   bartenders, hippies, cheerleaders,
   hockey stars, Arctic explorers, blackjack dealers . . . 
   not even astronomers, & certainly not the girl next door,
   who can’t even complain about acne
   or a strained relationship with her mother.

   Every crossword box has been penciled.

   No lovestruck bachelors repent
   atop the dilapidated water tower.

   The villanelle has failed.

   The libraries, though deserted,
   have been flame-proof for centuries.

   Postcards fall through mail slots into neat piles.

   Beehives are silent,
   & crickets strum a predictable hum.

   Nobody fumbles the quadratic equation,
   & the Laws of Thermodynamics are intact.

   The pantoums have crumbled to crumbs.

   Outcrops are barren of dinosaur skeletons –
   not a glimmer of quartz to inspire a geologist.

   The eons have blended
   into a single monotony of style.

   Glacial ice recedes at a sensible rate.

   No one has stamina for a sestina.

   The sunset has never been so ordinary.
   Same with birch trees, river ice, & the Moon
   which at dusk might as well be a high cirrus wisp.

   Jet contrails spell out nothing in particular,
   rip across shapeless clouds – no tricycles or crocodiles.

   On the evening news, no terrorizing snow drifts,
   mushroom clouds, local scurvy scares,
   or celebrities dead of brain cancer.

   Compost heaps are heaped with ghazals.

   No monsoons, patches of quicksand, vagrant icebergs, tsunamis . . . .
   Storm chasers stare blankly at blank radar.

   Gas stations are free of sniper fire.

   Beefed-up cars glide through town, noiseless & patient.

   Rubberneckers, bored, have collapsed into hibernation.

   The abecedarians are a jumble of foreign alphabets.

   Neon signs are dusted with a prescribed number of moths,
   & the wafting of fireflies lacks a muse.

   Tavern jukeboxes no longer eat quarters,
   & ponytails swing perfect orbits.

   The ideal lime swims in the ideal gin & tonic.

   Even the hangovers are tolerable.

   No more quatrains about autumn or digger wasps.

   Kindergarten classrooms are hiccup-free.

   Dodge balls scattered across sandlots
   are properly inflated, & the open baseball mitts
   catch the usual stream of neutrinos
   from an uncomplicated universe.

   Physicists crawl inside their telescopes,
   undisturbed by the swallowing nothingness.

   The sky tonight will be cometless,
   not one meteor ooohed upon.
   The handful of visible stars will twinkle
   the same old twinkle, constellationless.

   The galaxy’s spiral arms have an eerie regularity.

   And even the subatomic world
   makes a kind of sense: quarks reveal themselves
   in cohesive narratives, all chaos washed away
   in a quarky tide.

(“Notes Toward the Last Poem on Earth” first appeared in Quarterly West #58 (Summer 2004). It is used with the permission of Mike Dockins.)

//

The After Life of Objects

[This assignment arose from a Michelle Bonczek idea, and is used with permission.]

You are to write a poem with the title: “The Afterlife of _______.”

You get to fill in the blank. For instance, Michelle’s poem is “The Afterlife of Pennies,” but you can choose whatever, such as pizza boxes, socks, school notebooks, etc.

Ok. Go after it!

//

08
Jul
14

RomComPom

What is RomComPom? It is a new journal for romantic comedy poetry that will be edited by Susan Elliott Brown and me.

RomComPom header screen cap

Here’s a definition from the journal’s website:

RomComPom – poetry that inhabits the same emotional space as romantic comedy. Its symptoms include, but are not limited to, laughter, delight, crying (or at the minimum, a lump in the throat), self-doubt replaced by selfless confidence, the realization of love in an unexpected person, and the overwhelming urge to want to fall in love or eat chocolate.

It may also be a poem about, inspired by, or that references a romantic comedy. However, it doesn’t need to be about or reference any romantic comedy, but it should aim to generate the same feelings as a romantic comedy. Snarky poems are also encouraged.

Be sure to check it out: romcompom.wordpress.com/

The first issue will appear in early 2015 sometime.//

 

16
Feb
12

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.//

10
Jan
12

Rob Carney and Tom Holmes Poetry Reading (1-27-12)

Friday, January 27 at 7:30 p.m. –  Rob Carney (from Utah) and Tom Holmes at RIT Liberal Arts Faculty Commons (06-1251), right across from the Wallace Library.

That’s right I’ll be reading with Rob Carney. One of the three people to whom I dedicated Poems for an Church. So if you like my poetry, you’ll love his poetry even more. Plus, he’s an awesome reader. And if love mythic poems, this is a reading that shouldn’t be missed.

Rob CarneyRob 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.

Tom Holmes – Wine Never BlinksTom Holmes is the editor of Redactions: Poetry & Poetics (www.redactions.com). He is also author of: Poems for an Empty Church (Palettes & Quills Press, 2011), which was nominated for The Pulitzer Prize; The Oldest Stone in the World (Amsterdam Press, 1-1-11, 12:00:00 a.m (the first book released in 2011)); Henri, Sophie, & the Hieratic Head of Ezra Pound: Poems Blasted from the Vortex (BlazeVOX Books, 2009); Pre-Dew Poems (FootHills Publishing, 2008); Negative Time (Pudding House, 2007); After Malagueña (FootHills Publishing, 2005), and Poetry Assignments: The Book (Sage Hill Press, forthcoming). And he has thrice been nominated for the Pushcart Prize.

This event is sponsored by RIT and Palettes & Quills.//

01
Jan
12

Best Poetry Books in 2011

According to No Tell Poetry and Michael Meyerhofer, my poetry book, Poems for an Empty Church (Palettes & Quills)was one of the best poetry books released in 2011. You can read the full list here: http://notellpoetry.blogspot.com/2011/12/best-poetry-books-of-2011-michael.html.

Poems for an Empty Church front cover

Why not order a copy now?! Just click here.//

18
Nov
11

redactions: poetry & poetics 2011 pushcart prize nominations

It’s that time of year again, and Redactions: Poetry & Poetics, with its guest editor Sean Thomas Dougherty and editor Tom Holmes, has nominated its six favorite poems. The nominees in the order of appearance in issue 14 (The I-90 Poetry Revolution issue) are:

  1. Jonathan Farmer’s “Jellyfish” (pages 10-11)
  2. Holly Virginia Clark’s “The Birdhouse” (pages 18-19)
  3. Lisa Akus’ “Pumpkin Poem (Untitled)” (page 36)
  4. Martha Silano’s “Size” (page 43)
  5. Keetje Kuipers’ “Letter to an Inmate in Solitary Confinement” (page 49)
  6. Philip Metres’ “Letter to St. Petersburg” (page 50)

To read these poems and more, order a copy of the I-90 Poetry Revolution Issue from here: http://www.etsy.com/shop/redactionspoetry.

You can also read the Pushcart Prize nominated poems here: http://www.redactions.com/pushcart-poems.asp.

 

//

29
Sep
11

Poems for an Empty Church Book Release Reading and Party

Oh yeah. October is just around the corner, and you know what that means, don’t you? Yup. My girlfriend celebrates her birthday. And it’s time to celebrate Ezra Pound’s birthday.

Ezra Pound Yawping

And the Yankees make the playoffs. And it’s Halloween. And Tom Holmes has a book-release reading and party.

Poems for an Empty Church front cover

That’s right. I’ll be reading at A Different Path Gallery on Saturday, October 22 at 7:30 p.m. at the wonderful art gallery in downtown Brockport, A Different Path Gallery, located at 27 Market Street.

Poems for an Empty Church poster

[To download a printable version of the poster, click Poems for an Empty Church PDF.]

Oh yeah. Good times. Poetry, wine, food, and you. Come for the wine. Stay for the poetry.

Here’s what they are saying about the book:

I’ve had a good time with Poems for an Empty Church, which is a big book, capacious, and surprised me with its often free-flowing and associational aesthetics.  As you want (usually) a cubist perspective(s), and as you say you want your poem/accept your poem as smarter than you are, you hit all sorts of interesting effects.  So, friend, way to go. I peered through the rocks into that eye & land of yours ….

– William Heyen, author of Shoah Train (finalist for the National Book Award)

Of course, no church is ever really empty unless people let ritual and myth lapse into repetition and dogma. Even then it isn’t empty, just empty of awe. That’s when origin stories are most necessary, and that’s what Tom Holmes provides in abundance: Moons create amazement, then stones create reflection, then people come along creating words, aggression, fire, flutes, art, physics, and probably our destruction, everything progressing ’til it returns full circle. Along the way, “statues pry themselves from sides of buildings / and exit the city / clutching their plaques.” Along the way, a lot of fine poems unfold, one containing a curse: “you have succeeded / in being only what you thought / you should be.” It’s a curse because we ought to be more. In a century in need of a giant do-over, Poems for an Empty Church reminds us of that. Even better, it makes a good lever or spark.

– Rob Carney, author of Story ProblemsWeather Report, and Boasts, Toasts, and Ghosts

In Poems for an Empty Church, Tom Holmes writes of birth and death and the life we live in between those two events in beautifully sculpted lines carved into the white space that surrounds them. “I dare say I can hear / muddy angels singing /the lines of God,” he writes in “The Calculus of a Tod Marshall Book of Poems.” There are plenty of angels in Tom Holmes’ poems too, but one must be still enough to hear and appreciate the whisk of wings hovering over these powerful meditations.

– Sarah Freligh, author of Sort of Gone

I think of Charles Olsen when I read Tom Holmes’ poems: open, investigative, prophetic, often with mystical implications. These are the elements of our best modernist poems, and Holmes is a modernist – or a pre-modernist, or a post-pre-modernist. And there lies the real interesting part of his poems, they are hard to fit into anyone anywhere. He sits us in an empty church and says listen. He knows “it was the moons talked first.” He knows the dreams we dream even when “we wheeze / asleep in our boxes of shadows.” In these poems and parables is our collective of fire and nightfall, origins and endings, monochromatics, rivers, and stretch marks. Sappho makes a rare presence, but this is a book more stone-carved than page-written and she too is an ancient muse. As this author’s I is an absent eye, scanning the world of caves and shadows to find clouds who feed themselves, ghosts like alphabets, and men who whittle bones into flutes.

– Sean Thomas Dougherty, author of Sasha Sings the Laundry on the Line and Broken Hallelujahs

Poems for an Empty Church was officially released September 2, 2011, from Palettes & Quills. Founded in 2002, Palettes & Quills is devoted to the celebration and expansion of the literary and visual arts and offers both commissioned and consulting services. Palettes & Quills works to support beginning and emerging writers and artists to expand their knowledge, improve their skills, and connect to other resources in the community. Further, Palettes & Quills seeks to increase the public’s awareness and appreciation of these arts through education, advocacy, hands-on assistance, and by functioning as a literary press.//




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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