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Express Press


Amiri Baraka is an interesting person. Interesting people will write interesting things from time to time, and an essay by Baraka has found its way onto my computer screen. "Expressive Language (1963)" was first published in the magazine Kulchur and later in his book Home: Social Essays (1966). In this essay, Baraka claims that all cultures are profound simply by the fact of being cultures, that speech displays culture directly, and that culture is the end point for speech and is what makes it expressive: "Words’ meanings, but also the rhythm and syntax that frame and propel their concatenation, seek their culture as the final reference for what they are describing of the world."

The essay is not long, but the first several paragraphs had to be reread two or three times before I felt comfortable moving on. Words like "hegemony" and references to Pascal and Wittgenstein should be expected, but reading "Expressive Language" will reinforce notions about the strength of culture in our reading today and is insightful.

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Psalm of Home Redux


The poem "Psalm of Home Redux" is posted below for your random poem reading pleasure, but before scrolling down, let me give you a warning: you will like it, eventually.

The poem is enjoyable because of David Lee's composition. Broken into three, six-line stanzas, it develops three imperatives that are heightened by aggressive lines like "and race the moon like wild horses / to their death in the darkness" that push the reader toward the stanza's end. Of course, moons and horses aren't necessarily new poetic material (no Stephen Hawking), but when I read those two lines they do not feel cliché. Maybe because of the "death in the darkness?" This was something that bothered me at first, but now that I've looked at the poem a few times, I want to share it:

Psalm of Home Redux

after rereading Cormac McCarthy and taking
a 5 mile run through the River Ranch


Laughter is also a form of prayer

—Kierkegaard

Okay then, right here,
Lord, in Bandera,
tether me to my shadow
like a fat spavined mule
stuck sideways in Texas tank mud
bawling for eternity

At midnight's closing whine
of the 11th Street Bar's steel guitar,
when the stars slip their traces
and race the moon like wild horses
to their death in the darkness,
let my hoarse song twine with the night wind

May the bray of today's good laughter
fall like a brittle top branch
wind nudged from a sprawling live oak
straight down like early spring sleet
to the hill country's bent
and trembling bluebonnet covered knees


- David Lee

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Journal Spotlight


The journal Blackbird is produced with help from Virginia Commonwealth University. It is an online journal with very little tolerance for website dazzle. On its about page, we learn, "We have kept Blackbird structurally simple in order to emphasize the quality of its content and to make reading, viewing, and listening to it as effortless—technologically speaking—as possible." In a land of html hijinks, this journal is refreshing. It tells you the optimal screen resolution to view Blackbird, and on all content pages they provide an optimized version for printing.

What Blackbird loses in attractiveness it makes up for in content. An interesting poem using Stephen Hawking as a poetic subject by Stefi Weisburd is below, but in the current issue there are many poems that work well and I encourage you to discover what they have to offer.

Hawking in Zero-G


On April 26, 2007, astrophysicist Stephen Hawking
experienced microgravity aboard a modified Boeing 727.


At the peak of the arc, you sail
in the weightless freight of your body
stiff arms crossed like a mummy.

The 727’s apogee
disables gravity, and
your face goes nova-bright.

Laid down again for the dive,
still grinning as the plane careens
through eight full swoops and

swoons. Joy as loud as terror.
Someone lets loose a Red Delicious,
and Newton’s apple crests, the praxis

of ballistic art. Forget the errors
spooled down the helix. Forget
the withering that hobbled

limbs and chest, bobble head,
atrophy, slumped in the claw
of a wheelchair on stage, your canned

voice calling to the universe.
In zero-g, the heart
is as round as an orb. Space

here I come, stocked
with star clusters like relief
ganglia to repair your shorted

lines. On the plane,
the preagreed signal was
a grimace for stop

or your eyebrows raised
for keep going & you never
put them down.


Granted, the ending approaches sentimentality, but I feel the poem avoids it. Thoughts?

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Didacticism's Poetic Drag


Today a poem came into my inbox that raised a question: can poetry cause an individual to act? But that question is too broad, and it's kind of lame. So then, a better question is, can didactic poetry with a moralistic slant cause an individual to act in the way the poem wants the person to act? My answer is no, mostly because a poem is a piece of art, is artifice, and we mainly read for enjoyment, even when pursuing academic aims. To demonstrate a poem that tries to move us, here is one example:

The Truth About the Present

after Bei Dao


when rivers are intoxicated
with dioxide you gather lotus shoots
to pick their pockets is
the clock of the age

when the last songbird
shivers with undue cold like wires overhead
to handle harsh metals is
the clock of the age

when your keyboard dissolves
in the pit of nations
to write in echoes is
the clock of the age

when you forge transparencies
in the foundries upstream
the bridges are blocked by karaoke
their digital sand is
the clock of the age

the cell phone's face is always
time-dependent on fingers somewhere
today opens to the nearby delta
and tomorrow
is the clock of the age

Do you feel like doing anything...other than turning the page? John Lane's poem attempts to criticize consumer culture, create guilt because of that culture, and show what to do–avoid certain products–by revealing their harmful afterlife, while at the same time subverting the poem's rhetoric through awkward syntax, repetition of an abstract phrase "clock of the age," and the conjuring of Bei Dao, writer and activist. I mean, I get it, the bad things, but I want to tell my friends to be sure to recycle their electronics by pointing them HERE instead of this poem.

For poetry with moralistic goals to work it must be entertaining–it should want to be read again and again. When writing poems that feel accusatory this becomes difficult because the reader is resistant; for the poem to work it must invite the reader to join in on the bad-bashing. I don't feel invited into this poem but cast out, as if I need to write the poet a letter and assure them that I'm not the "you" who doesn't recycle or understand where the precious metals came from to build my motherboard.

I have yet to read a poem that inspires me to do some "good," though I have read investigative journalism that has. I've read poems that made me think, "Wow, that poem was awesome," like this one, but that's where poetry's force stops for me. I want to believe it can change the minds of millions and inspire a wave of do-gooders to combat Bush's evil-doers and all other "bad" things, but I just don't see it. I want to be entertained when I read, not scolded, but maybe I just haven't found the right activist-poetics to light my fire?

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Poet Highlight


At the American Library there is an adequate selection of poetry. A book series they have invested in is called the American Poets Project from the Library of America. If you are tired of the word America right now, you aren't 'Merican.

While looking through the titles, a name that seemed vaguely familiar caught my attention: Amy Lowell. Who was she? What did she write? Am I just thinking of Robert Lowell? After leafing through the introduction, reading, "Anyone with more than a passing knowledge of American poetry has heard of Amy Lowell..." by Honor Moore, I felt judged enough to borrow it.

Amy Lowell (1874-1925) is connected to the Imagist movement that was led by Ezra Pound. Though she and Pound had a love/hate relationship (Pound wasn't really a nice guy, so this type of relationship wasn't unusual), she identified herself as an Imagist and propounded its values in the U.S.

Her first book was published in 1912, and Lowell would go on to publish several books of poems, anthologies, and critical studies until her death. In her poems, she "pioneered the use of 'polyphonic prose' in English, mixing formal verse and free forms" (poets.org). Her work is characterized for its clarity, but it is also noted for its "bald audacity" and "eroticism" (Moore in Amy Lowell selected poems, American Poets Project). Amy Lowell was outspoken, forceful, kind, and a known lesbian in a time when silence was golden.

For links to some examples of her poetry, you can click here, here, or here. From what I've read so far, I am a bit wishy-washy, meaning I understand the rationale for those interested in her, but I don't find her in my top ten favorite poets. The first poem in this list of the three would be my favorite if I had to choose one to click.

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Journal Fest

I was not able to go to the AWP conference this year, which is too bad. Not too bad because it's great to be surrounded by writers trying not to look too much like writers (or are trying really hard to look like them), or because I couldn't go to the off-site readings that I'm sure were mostly a great time. And it's not too bad I missed out on listening to an interesting lecture or missed wandering into a talk that was starting to get heated. No, it's too bad I missed out on all of the free journals and awesome books to tempt the plastic in my wallet.

However, with all of those journals passed around at AWP like coupons for discounted car washes, I wonder how many of them will be around ten years from now? Which ones will make their mark on the literary community? What editors will become respected for finding the next great so-and-so? Which one seems worth buying a subscription?

For the question concerning which print journals might be around ten years from now, a new study shows that if a journal has survived its first three years or has an affiliation with a university, the chances of sticking around for another seven plus are pretty good.

Of course, the print periodical industry as a whole has been licking its wounds for awhile, especially with the increasing quality of and demand for online journals. At 41% of literary journals still being published today from an initial 1980 launch, though it's nothing to go crazy about, literary journals and popular magazines (43%) are almost on par (source)

So, if you are fresh from AWP with an extra duffel bag of journals, take a few minutes and see who supports them and how long they have been printing. If there is no college affiliation, the journal is in its first three years, and you like what the editors have done, this is where your subscription dollars should go. Also, if you have been pounded by snow and ice and have driven through all of the salt-soaked roads, get your car washed.

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Cream City


The Cream City Review is a nonprofit journal produced with help from, among other places, the University of Wisconsin-Milwaukee. I first became aware of this journal after seeing Haines Eason leave a short note about some of his poems that will be published there (side note, Haines won the PSA chapbook contest last year and his poems, well, are often very good).

I've written about journals from time to time here, and I think The Cream City Review needs to be highlighted for a few things that it does well / could do better. First, they have been publishing poets and writers since 1975 and today have a large staff that is kept busy with numerous submissions. Second, they have an annual literary prize for fiction, poetry, and nonfiction (side note, Haines won this year's poetry prize). Third, the journal is large and diverse, putting out over 200 pages of material twice a year, and as of 2008 eight, CCR even includes comics.

On the down-side, however, navigating their website to find past material and not just lists of past contributors is difficult. I often find reading an issue from a year ago or two years ago, though not an exact gauge of the editors' tastes because staff change occasionally, at least something to help me decide whether I want to submit my own work, buy a subscription, or recommend the journal to someone I think would like it. CCR is a print journal, so it's no surprise that their focus is on producing a solid print issue. On the other hand, I found and would most likely only have found CCR online.

So, if you are interested in reading more about Cream City Review, follow the links.

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