I forgot to tell you: “Thanatos” is up at Full of Crow Press’ great flash fiction journal, MiCrow. The Spring 2013 issue is here: Luminous (pdf)
‘ll have a poem called “Obscenity (The Holographic Principle)” coming soon out in the exciting inaugural issue of Slippage, which celebrates work “at the intersection of science and art” – I’ll link it when the issue goes live some time this spring. Here.
It’s National Poetry Month. A good reason to write a poem a day, since tons of people are offering daily prompts for the month of April. For example:
Ms. Quickly prompts
We Write Poems prompts
Or, pick up this great tool: Wingbeats: Exercises & Practice in Poetry (Yes, a couple of my poems are in there with one of my favorite teaching-exercises – but this book is fantastic, and packed with great ideas, prompts, and inspiration).
For a smart, funny take on the hazards of NPM, or possibly just of life, check this out, by Paisley Rekdal at Harriet:
“We’re taught, simultaneously, to treat poetry as the purest, most elevated art at the same time we declare it culturally dead, with no practical or economic use. Both positions put poetry outside of our lives and our understanding, making it, essentially, invisible. And how can we read or appreciate what we don’t really see?
I suppose that is what NPM is meant to do: throw poems in the path of people who wouldn’t normally see them. But treated as sound bites, we see them the way we see the latest Dove commercial: as a kind of feel-good ad that is, in the end, still trying to sell you something to stick in your armpits. It doesn’t–and can’t– solve the problem that most concerns me, which is that the ways we treat poetry often exacerbates the larger problems that we have with reading now: that it is a purely passive, not active engagement with language, in which meaning “happens” if it relates to the personal life of the reader, or if it “moves” us. This really does have long-term cultural and political effects for us as a nation, because if we don’t believe we are in control of our reading—that we can parse a sentence to evaluate not only its pleasurable effects but to comprehend its arguments—then we are screwed.”