Greg Keith is a poet whose work not too many people know, but he is one of the poets who contributed to the headwaters of my own poetry, one whose work I sometimes forget still abides (he lost his battle to cancer in 1998), faithfully flowing for decades, full of rich nutrients from the ground of the giant watershed, still feeding my work and helping to shape the standard against which I measure all poetry. In short, he is a part of my own personal canon, and you could do much worse to make him a part of yours.
Keith has no major awards to his credit and only one published book of poems for his decades-long love affairs with language and science, but his legacy is a body of work that joins the empirical (hard science) and the lyrical aspects of the human condition in a rare marriage that retains the romance inherent in the new and the unfamiliar, while moving beyond youthful infatuation into a mature union that holds up over time. Hear the title poem to his book, Life Near 310 Kelvin:
Life Near 310 Kelvin
Air so still stars barely twinkle, still busy inside.
Just step out into the dark yard and the air starts
eagerly stripping momentum from the skin.
Her cheek so chilled it made cool fingers hot--heat
needs these directions to go, some difference to erase.
Iron straight from the forge, fierce with tiny agitation,
donates freely the deep KE it has just received.
Hot's whatever gives you heat and cold is how heat goes.
Either way, something has happened and you know it.
She arrived. She departed. Sunlight has finally
reached the tables on the eastern side of the street.
Heat falls out of the intervals between breadcrumbs.
No trail home. Birds have devoured every morsel.
Heat, the ratchet keeping time from slipping back.
Although Keith was an expert in computer technology, his measure of artistic success was not quantity of output or publication credits. He considered '94 a good year: "one article, one story, three poems published." Keith's hesitation to "rush to publish" either in print or on line is now even more poignant than it was in his creative non-fiction story, "Literary Passions," (published in 1998), in which he pits his wit and humility against a Bukowski-type anti-hero who challenges him to a poetry write-off in a Santa Cruz bar.
The story reminds me of Bill Henderson's comments in his introduction to Pushcart Prize XXXIV about how in the literary world speed kills: "Another lust that consumes our culture today is speed, not the drug but the electronic version. This is especially deadly to writers. On-demand vanity publishers will zip out your efforts, no questions asked (and usually no readers found). It's a mistake for writers to be in a huge hurry to be noticed...it takes years, maybe a lifetime, to figure out what you want to say and how to say it. Because you can burp out a poem or short story on line, you will not immediately join the ranks of the immortals. Indeed you will be embraced in the Pantheon of Twitter. Or maybe The Kingdom of Kindle will admit you. Fast books, no binding needed. Toss when done."
Even though slow and steady does not always win the race, in the case of Greg Keith, allowing the thirteen and one-half billion year-old universe to reveal itself in his work through a diction both aware of science and the human condition, connects its history with our story, and can render the quantum just as easily as the galactic to be the quintessence of existence. And consciousness: listen to the neuron's story in "What the neuron knows:"
"How to listen, to mull the rumors in its thousand ears
and what size grain of salt to take with each.
How to speak its one word or keep mum. Given time,
how to change its little mind about the weight it gives its sources.
What the net is is
gangs of such neurons and weighted connections.
What the net knows it salts away in blind trust at the nodes,
its wealth spread out in unnumbered accounts."
Greg marveled at the discovery that photons disintegrated on their long journeys from the stars to earth. How then, do we see them? On the way, these dying particles meet up with younger free-roaming photons that become excited from the transfer of energy and information, which is carried to its final destination by those who have never seen their parent-stars.
Such is our mission--to receive the recognized pulses of light flashed by others, to add our own visible energies, and to carry the resulting message as far as we can! Gregory Keith is one of those photons. You may never have seen his star, but you can be energized by him to create your own!
Monday, November 15, 2010
Backwater Poet: Greg Keith
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Sunday, July 25, 2010
MiPOesias Magazine!
Didi Menendez has a multi-channel publishing network that not only presents some of the best poets and artists working today, but she adds value by aggressively marketing them through cutting edge technology, as well as in traditional print forms. For Didi, it's about publishing as an art form and giving herself totally to that art and her artists. And even though she's all about relationships, they never get in the way of her demanding excellence in the work. Check out this issue of MiPOesias Magazine to see what I mean, as well as the link to MiPOesias, to see her other publications!
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Friday, July 16, 2010
Long Poems: Galaxies of the Poetic Universe
Long poems. What are they? Book-length continuous flows of lines and stanzas or series of poems capable of standing alone, but interacting in a way that forms something more than a manuscript? How long is long? "Howl" qualifies when compared to a haiku, but how about when one considers "Iovis," the twenty-something year project by Anne Waldman, now approaching 1,000 pages? Or is "long poem" an inappropriate term for her multi-volume series--no different from any poet's life-time body of work, capable of being considered "one poem."
And how do long poems differ from shorter poems? Is length the only criterion for a long poem, or is there a qualitative difference, more akin to the difference between a black hole and a normal star, than the difference between a large jupiter-like planet and a small frozen body like the planetoid Pluto?
Indeed, in the poetic universe there are a seemingly infinite variety of ways that words and lines, stanzas and non-stanzas cluster together to form varied structures, in the same way that matter clumps together to form asteroids, planets, stars and galaxies.
The following poems are major bodies of work--a beginning list of important long poems to view and review to expand one's understanding of the poetic universe. Feel free to add to the list, post a review, or comment upon them or the idea of the long poem. It's all part of the work of producing new text that just might stimulate the birth of another long poem.
A. R. Ammons, "Garbage," and "Ommateum": both booklength poems in many sections.
Anne Carson, "Autobiography Of Red": a novel in verse.
Chaucer, "The Canterbury Tales."
Hart Crane, "The Bridge": modern poem in multiple sections centered on the Brooklyn Bridge.
Dante, "The Divine Comedy"
T.S. Elliot: "Four Quartets": long poem of ontological philosophy.
H.D., "Trilogy": three long poems of spiritual exploration, bordering on midrash, written during the London bombings of WWII: "The Walls Do Not Fall," "Tribute To The Angels," and "The Flowering Of The Rod."
Homer, "The Iliad" and "The Odyssey": classic Greek tales to which all western literature owes a debt.
Robinson Jeffers, "Cawdor" and "Medea": lyrical narrative poem, based upon Jeffers own tragic love life, and a verse adaptation of Euripides' drama, created especially for the actress Judith Anderson.
Kenneth Koch, On The Edge, Collected Long Poems: A collection of six longer (36-116 pages) poems.
Larry Levis, "Elegy": In some ways this final book of Levis, published posthumously and edited by Philip Levine and Peter Everwine, can be considered one long poem.
Milton, "Paradise Lost"
Ezra Pound, "Pisan Cantos": some of the most lyrical verse in the English language.
Tomas Transtromer: several poems in "the great enigma" are longer (20 pp. or more).
Walt Whitman, "Leaves Of Grass": classic collection of poems or parts of one long poem that brought American poetry into the modern era.
William Carlos Williams, "Patterson": Williams' classic poem using the conceit of a city to describe "the entire knowable universe."
And how do long poems differ from shorter poems? Is length the only criterion for a long poem, or is there a qualitative difference, more akin to the difference between a black hole and a normal star, than the difference between a large jupiter-like planet and a small frozen body like the planetoid Pluto?
Indeed, in the poetic universe there are a seemingly infinite variety of ways that words and lines, stanzas and non-stanzas cluster together to form varied structures, in the same way that matter clumps together to form asteroids, planets, stars and galaxies.
The following poems are major bodies of work--a beginning list of important long poems to view and review to expand one's understanding of the poetic universe. Feel free to add to the list, post a review, or comment upon them or the idea of the long poem. It's all part of the work of producing new text that just might stimulate the birth of another long poem.
A. R. Ammons, "Garbage," and "Ommateum": both booklength poems in many sections.
Anne Carson, "Autobiography Of Red": a novel in verse.
Chaucer, "The Canterbury Tales."
Hart Crane, "The Bridge": modern poem in multiple sections centered on the Brooklyn Bridge.
Dante, "The Divine Comedy"
T.S. Elliot: "Four Quartets": long poem of ontological philosophy.
H.D., "Trilogy": three long poems of spiritual exploration, bordering on midrash, written during the London bombings of WWII: "The Walls Do Not Fall," "Tribute To The Angels," and "The Flowering Of The Rod."
Homer, "The Iliad" and "The Odyssey": classic Greek tales to which all western literature owes a debt.
Robinson Jeffers, "Cawdor" and "Medea": lyrical narrative poem, based upon Jeffers own tragic love life, and a verse adaptation of Euripides' drama, created especially for the actress Judith Anderson.
Kenneth Koch, On The Edge, Collected Long Poems: A collection of six longer (36-116 pages) poems.
Larry Levis, "Elegy": In some ways this final book of Levis, published posthumously and edited by Philip Levine and Peter Everwine, can be considered one long poem.
Milton, "Paradise Lost"
Ezra Pound, "Pisan Cantos": some of the most lyrical verse in the English language.
Tomas Transtromer: several poems in "the great enigma" are longer (20 pp. or more).
Walt Whitman, "Leaves Of Grass": classic collection of poems or parts of one long poem that brought American poetry into the modern era.
William Carlos Williams, "Patterson": Williams' classic poem using the conceit of a city to describe "the entire knowable universe."
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Monday, May 10, 2010
Why Do We Write?
Dawn Haines begins her essay, "To Begin, After A Long Time Gone", in the May/June issue of Poets & Writers with the following sentence: "In January 2006 I graduated from a low-residency program and stopped writing." Sound familiar? How about her analysis of why: "The deadlines instituted by the MFA program I attended had given me the incentive--even the discipline--to write, but after I graduated the reality hit me: Writing is hard."
Haines has hit upon the precise reason I write this blog and the reason I founded an online poetry community: the writing life is a life of connection--a connection with what others have written and a connection with other writers. In an MFA or BFA program we wrote, at least in part, because we purchased, among other things, an ongoing community of fellow-writers with writing deadlines imposed upon us.
Unless we find (or make) a substitute community that holds one another accountable after leaving the program, many of us will do something like what Haines did: "I thought a break [from writing] was rational...I was tired of fighting for time and for the even more difficult-to-acquire quiet space I needed for writing...Before long, I noticed I was feeling bad. Really bad. So bad that I wouldn't get out of bed. I told myself that tomorrow I'd start writing, every day, just for me. But I stayed in bed and read novels and watched movies on y son's portable DVD player. I turned on my computer only to read e-mail and catch up on American Idol news. And the longer I didn't write, the more I felt like a failure because of all the unwritten words."
The path back to writing, for Haines, came from listening to a member of her writing group who suggested she simply write about not writing. That led to other ideas that she developed into stories and she was back on track.
What is your path back into the writing life? What are you spending your time thinking about? Write about it! What are you spending your time doing? Write about it! What are you reading? (Oops, not reading--pick up that book you bought your last MFA semester, the one that you never got around to reading.) Write about it! As Haines points out, you don't have to have open-ended hours of isolation to make progress. You don't have to live the idyllic writing life in order to write. And that brings up the question: "Why do you write?" Do you write in order to fulfill other needs--to feel important, to be a success, to avoid being a failure? Or do you write for the intrinsic benefits that writing brings?
Haines writes to connect--to connect with her readers, yes. But more important, to connect to herself. "It's a process of unfolding, and what it reveals to me--however troubling--is deeply satisfying. There is no failure in discovery. Often when I'm writing, I feel most alive."
What Haines is speaking about is writing as a deeply meditative (spiritual) act. Like breathing, it has benefits outside of itself. But there is a joy in simply focusing upon and experiencing our own breath. In. Out. In. Out. Read. Write. Read. Write.
How can we not do it and be alive?
Haines concludes so well: "Writing is about making connections and creating something where before there was nothing. It's about energy and intellect and gifts. It's about hope. This day, in spite of myself, the writing did what I nearly forgot it could do. And more."
Here's hoping...
Haines has hit upon the precise reason I write this blog and the reason I founded an online poetry community: the writing life is a life of connection--a connection with what others have written and a connection with other writers. In an MFA or BFA program we wrote, at least in part, because we purchased, among other things, an ongoing community of fellow-writers with writing deadlines imposed upon us.
Unless we find (or make) a substitute community that holds one another accountable after leaving the program, many of us will do something like what Haines did: "I thought a break [from writing] was rational...I was tired of fighting for time and for the even more difficult-to-acquire quiet space I needed for writing...Before long, I noticed I was feeling bad. Really bad. So bad that I wouldn't get out of bed. I told myself that tomorrow I'd start writing, every day, just for me. But I stayed in bed and read novels and watched movies on y son's portable DVD player. I turned on my computer only to read e-mail and catch up on American Idol news. And the longer I didn't write, the more I felt like a failure because of all the unwritten words."
The path back to writing, for Haines, came from listening to a member of her writing group who suggested she simply write about not writing. That led to other ideas that she developed into stories and she was back on track.
What is your path back into the writing life? What are you spending your time thinking about? Write about it! What are you spending your time doing? Write about it! What are you reading? (Oops, not reading--pick up that book you bought your last MFA semester, the one that you never got around to reading.) Write about it! As Haines points out, you don't have to have open-ended hours of isolation to make progress. You don't have to live the idyllic writing life in order to write. And that brings up the question: "Why do you write?" Do you write in order to fulfill other needs--to feel important, to be a success, to avoid being a failure? Or do you write for the intrinsic benefits that writing brings?
Haines writes to connect--to connect with her readers, yes. But more important, to connect to herself. "It's a process of unfolding, and what it reveals to me--however troubling--is deeply satisfying. There is no failure in discovery. Often when I'm writing, I feel most alive."
What Haines is speaking about is writing as a deeply meditative (spiritual) act. Like breathing, it has benefits outside of itself. But there is a joy in simply focusing upon and experiencing our own breath. In. Out. In. Out. Read. Write. Read. Write.
How can we not do it and be alive?
Haines concludes so well: "Writing is about making connections and creating something where before there was nothing. It's about energy and intellect and gifts. It's about hope. This day, in spite of myself, the writing did what I nearly forgot it could do. And more."
Here's hoping...
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Wednesday, May 5, 2010
The Best of AWP: Putting Together Your First Book II
E.M. Forster in his Aspects of the Novel distinguishes between story and plot: story being "a narrative of events arranged in time sequence," and plot being a narrative of events, "the emphasis falling on causality." Forster reserves story for the "wriggling and interminable, naked worm of time," the skeletal backbone of actions present in any literary organism. Plot, on the other hand, involves the hidden, mysterious, causal elements necessary, among other elements, for transforming the bones of a story into a living, breathing piece of literature.
Nicky Beer's contribution to the panel discussion ("The 25th Poem: Putting Together Your First Book) centered around Forster's distinction, applying it to the sequencing of poems in a book, with the main point that each poem is to be viewed as an action contributing to plot, rather than merely the story. Thus the poet should strive to link poems organically, rather than chronologically, to achieve the greatest effect.
James Allen Hall echoed this maxim and pointed out that a chronological structure does organizational work, but what is also needed is emotional work. One should consult the images in one's poems as one would themes in a musical score and attempt to organize them in the same manner.
Anna Journey (author of If Birds Gather Your Hair For Nesting (The National Poetry Series), emphasized that there is no one right way to organize a book of poems. One can group them by theme (somewhat artificial), one can utilize a linear ordering (tends to box one in), or one can "allow the poems to order themselves." (This is where I gagged!) Journey articulated her own strategy as one that attempts to "persuade a reader by voice." By this she said she meant to "sense the psychic preoccupations of the poems, and make them resonate."
Finally, Sandy Sang (author of Sediment (Four-Way Books) emphasized the overall diversity of the manuscript. She advised creating an arc (not necessarily narrative) from beginning to middle to end, where every poem is seen to have a purpose. This begins with identifying the "core poems" and discovering a direction for the book from them. Identify the themes that appear again and again and utilize them as an organizing principle.
Of course these panelists were poets and, therefore, most of the advise was couched in metaphor. But if the advise was difficult to reduce to a ten step program, at least it provided a tremendous amount of motivation to experiment with order and structure in one's manuscript. So much so that the next morning I went downstairs from my hotel room at 5:00 AM and completely re-ordered my full manuscript. It may not win any awards any time soon, or even be published, but it is better for the process, and I think I have finally laid to rest my misgivings about its weaknesses. Perhaps more importantly, I'm ready to move on and write another manuscript. Maybe that's the lesson to be learned. If, after making it as good as you can, your first manuscript doesn't get published, just write a better one! And while you're doing it, you might look at the advice of these award-winning poets.
Nicky Beer's contribution to the panel discussion ("The 25th Poem: Putting Together Your First Book) centered around Forster's distinction, applying it to the sequencing of poems in a book, with the main point that each poem is to be viewed as an action contributing to plot, rather than merely the story. Thus the poet should strive to link poems organically, rather than chronologically, to achieve the greatest effect.
James Allen Hall echoed this maxim and pointed out that a chronological structure does organizational work, but what is also needed is emotional work. One should consult the images in one's poems as one would themes in a musical score and attempt to organize them in the same manner.
Anna Journey (author of If Birds Gather Your Hair For Nesting (The National Poetry Series), emphasized that there is no one right way to organize a book of poems. One can group them by theme (somewhat artificial), one can utilize a linear ordering (tends to box one in), or one can "allow the poems to order themselves." (This is where I gagged!) Journey articulated her own strategy as one that attempts to "persuade a reader by voice." By this she said she meant to "sense the psychic preoccupations of the poems, and make them resonate."
Finally, Sandy Sang (author of Sediment (Four-Way Books) emphasized the overall diversity of the manuscript. She advised creating an arc (not necessarily narrative) from beginning to middle to end, where every poem is seen to have a purpose. This begins with identifying the "core poems" and discovering a direction for the book from them. Identify the themes that appear again and again and utilize them as an organizing principle.
Of course these panelists were poets and, therefore, most of the advise was couched in metaphor. But if the advise was difficult to reduce to a ten step program, at least it provided a tremendous amount of motivation to experiment with order and structure in one's manuscript. So much so that the next morning I went downstairs from my hotel room at 5:00 AM and completely re-ordered my full manuscript. It may not win any awards any time soon, or even be published, but it is better for the process, and I think I have finally laid to rest my misgivings about its weaknesses. Perhaps more importantly, I'm ready to move on and write another manuscript. Maybe that's the lesson to be learned. If, after making it as good as you can, your first manuscript doesn't get published, just write a better one! And while you're doing it, you might look at the advice of these award-winning poets.
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Monday, April 5, 2010
My Schedule At AWP
Wednesday, April 7:
4:00 PM: Arrive at Hyatt Regency Denver
8:00 PM: Terry Lucas reading at the Mercury Cafe (with Naugatuck River Review Poets)
Thursday, April 8:
10:30-11:45 AM: R125 "The 25th Poem"
3:00-4:00 PM: Signing at Naugatuck River Review Table
Free the rest of the afternoon for being at book fair tables and touring book fair.
08:30-10:00 PM: Keynote Address: Michael Chabon
Friday, April 9:
09:00--10:15 AM: F113 "Writing Sex, Implicit Censorship in Contemporary Poetry"
10:30--11:45 AM: Free Time for meeting up with people or book fair.
Noon--01:15 PM: F158 "Newer Testaments"
Free the rest of the afternoon for being at book fair tables and touring book fair.
08:30-10:00 PM: Gary Snyder & Anne Waldman Reading
Saturday, April 10:
Early AM: Available for meeting up with people for breakfast or midmorning.
Noon: Leave for airport.
4:00 PM: Arrive at Hyatt Regency Denver
8:00 PM: Terry Lucas reading at the Mercury Cafe (with Naugatuck River Review Poets)
Thursday, April 8:
10:30-11:45 AM: R125 "The 25th Poem"
3:00-4:00 PM: Signing at Naugatuck River Review Table
Free the rest of the afternoon for being at book fair tables and touring book fair.
08:30-10:00 PM: Keynote Address: Michael Chabon
Friday, April 9:
09:00--10:15 AM: F113 "Writing Sex, Implicit Censorship in Contemporary Poetry"
10:30--11:45 AM: Free Time for meeting up with people or book fair.
Noon--01:15 PM: F158 "Newer Testaments"
Free the rest of the afternoon for being at book fair tables and touring book fair.
08:30-10:00 PM: Gary Snyder & Anne Waldman Reading
Saturday, April 10:
Early AM: Available for meeting up with people for breakfast or midmorning.
Noon: Leave for airport.
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
Tuesday, March 23, 2010
Tygerburning Literary Journal
Congratulations to Jacqueline Gens, editor, and the following poets, among others, whose work appears in issue one of this new journal:
Nikoleta Nousiopoulis, Matt Ulland, Stephen Delbos, Barbara Paparazzo, Steven Riel, Ilya Kaminsky, Sara Lafsyk, Dorinda Wegener, Annmarie O'Connell, Nin Andrews, Douglas Piccinnini, Howard Faerstein, Joanna Cooper, Bhisham Bherwani, Adam Fieled, Ivy Page, Terry Lucas, James Harms, Brian Henry, Chard DeNiord, Roberta Feins, Lana Hechtman Ayers, Erica Lutzner, Janet Barry, Barbara Lovenheim, Tara Betts, Karen Dietrich, and Kent Maynard.
Copies can be pre-ordered at http://www.marickpress.com/index.php?/Books/
Nikoleta Nousiopoulis, Matt Ulland, Stephen Delbos, Barbara Paparazzo, Steven Riel, Ilya Kaminsky, Sara Lafsyk, Dorinda Wegener, Annmarie O'Connell, Nin Andrews, Douglas Piccinnini, Howard Faerstein, Joanna Cooper, Bhisham Bherwani, Adam Fieled, Ivy Page, Terry Lucas, James Harms, Brian Henry, Chard DeNiord, Roberta Feins, Lana Hechtman Ayers, Erica Lutzner, Janet Barry, Barbara Lovenheim, Tara Betts, Karen Dietrich, and Kent Maynard.
Copies can be pre-ordered at http://www.marickpress.com/index.php?/Books/
was born in the Midwest, grew up in New Mexico, and has lived in the San Francisco bay area for two decades. Terry's work has appeared in numerous literary journals, including Alaska Quarterly Review, Best New Poets 2012, Crab Orchard Review, Green Mountains Review, Great River Review, New Millennium Writings, and The Comstock Review. His work has garnered seven Pushcart Prize nominations. He is the winner of the 2014 Crab Orchard Review Special Issue Feature Award in Poetry. His chapbook, Altar Call, was a winner in the the 2013 San Gabriel Valley Literary Festival, and appears in the Anthology, Diesel. His chapbook, If They Have Ears to Hear, won the 2012 Copperdome Poetry Chapbook Contest, and is available from Southeast Missouri State University Press. His full-length poetry collections are In This Room (CW Books, 2016) and Dharma Rain (Saint Julian Press, 2017). Terry is a 2008 poetry MFA graduate of New England College. When he is not writing he is teaching as a regular speaker in the Dominican University Low-Residency MFA Program and as a free-lance writing coach. For more information about Terry and his work see www.terrylucas.com.
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