Apr 14

“My Poems Used to Get Published. . . But Now, Nothing”

The following is a recent  exchange between myself and a poet acquaintance, used here with her permission.

Catherine,


I’m looking for some advice from an expert.

I’m working on a manuscript and, in doing so, have submitted the poems to literary magazines. I’ve gotten a lot of rejections. Also I’ve lost contests when I thought my poems should have at least gotten an honorary mention.

So what to do? If I can’t get poems in magazines, I’m surely not going to get a manuscript or chapbook published. Should I just write because that’s who I am and give poems to friends or what? I don’t have an MFA. I’m 66 and don’t have the desire to get an MFA.

Very confused as to what my next step should be, if any. As you know, I’ve self-published two books. Should I try for a third and to what end? I’m not requested to do readings, and I have more than 50 of my second book sitting on the floor of my study.

If you have time to answer this e-mail, I’d appreciate your advice. I know you’re probably pretty busy. –E.


Dear E.,


Your poems are very good but like mine are not contemporary or spectacular. Nor are they the snow-globe type that wins more conservative contests. It is okay. I am thinking of going back to writing what I really think with no holds barred now that no one cares.

Eff contests that will only make you sad and mad.

No accounting for tastes.

Why not volunteer to read more often, or ask organizers who are always looking for someone, and then you will be asked.

Publish a third book because you are made of stars and God wants you to.

I have dozens of unsold books! So does every writer! Love. -Catherine



Catherine,


I love that you think we’re all made of stars and God wants us to publish.

I didn’t think about my poems being contemporary or not. Back in 1983-1986 everything I sent out was published. Now, nothing. And I think my poetry is a lot better now than then.

Well, I think I’ll take your advice and just write “my thing” and not worry about submitting. No, no one cares.
Organizers say they really like my poetry, but never ask me to read even though I continue to tell them I’d like to.

Shown below is a recent poem, “Answer,” and attached is another, “Directions for My Funeral.” I don’t understand why they’re not contemporary.


Answer


Dying at home
in her hospice bed,
mother asked for her
Conservative Lutheran Pastor,
wearing cross, carrying Bible.

Pastor, she whispered,
I believe in evolution.
What he said into her ear
wasn’t heard by any of us.

Then she slipped away

into the answer.

Didn’t you win Poetry Center first place? Congratulations. -E.



Dear E.,

I really think “Directions for My Funeral” is outstanding, especially the first stanza, but it and the “Answer” poem break three laws of contemporary poetry publishing:

-Don't write about writing.

-Don't write about aging.

-Don’t write about old people dying.

Forbidden phrases: “my mother,” “my father.” Overused, and no one really cares about other people’s parents, especially if dead.

Most editors are in their 30s and 40s and don’t see themselves aging, and in their view only old people die and old people don’t count. Your poems in the 1980s got published because editors were around your age and you probably didn’t write about aging.

Poets who write nostalgia about the barber chair and The Parkmoor restaurant—it is so sad no one wants their poems although I like them. Younger cannot appreciate them.

I won Poetry Center’s 1st in 2010 or 2011 with poem about submarine war movies. It also had a masculine pseudonym on it. Anything that could possibly be labeled as “women’s poetry” is devalued. Try new subjects. -Catherine



Catherine,

I really appreciate hearing this. It makes a lot of things clearer. Again, thanks for your time and advce. You’re the best! Thanks for letting me bend your ear and patience.

What poets should we be reading to get a sense of what they are writing? –E.



Dear E.,

Read not poets but litmags. Many are online free or have online samples. I have Rattle magazine deliver me a daily poem. They’re pretty good (except for the children’s poems) and they are what let me know my work doesn’t meet the current standards. Read River Styx to see mid-level poets and poetry. Read Midwestern Gothic to see high-level regional poetry. If they ask for money, invest a few bucks, the education is worth it, and you write it off as an expense.

My favorite poet I wish I wrote like is Cate Marvin. Look up online her poem “A Windmill Makes a Statement.”

Good luck, star person. God loves poetry. -Catherine

May 28

Blue Material

cabaretPeople said hello and I briefly replied and excused myself to the rearmost room and its rearmost booth, where I sat quietly alone and ate a mozzarella stick for fuel to get through the 25-minute reading for Chance Operations last Monday night. The Chance Operations series run by St. Louis artists/poets Tony Renner and Chris Parr just celebrated its second anniversary. I had read there before and loved it; anything goes. So I had some risky / risque poems to read, work that, shall we say, painted with a broad brush, poems that normally would not see the light of day nor be aired. I didn't do "blue" material just to do it. The poems had actual content, and I am also interested in literary expectations and the boundaries between what is and isn't acceptable. Also at this point I have nothing to lose and for an artist this condition is ideal.

It went well. This entry is not about the work or how it was received (just fine!) but on the exceptional demands that "blue" material makes on the speaker. First I had to slenderize the poems so none of them sounded blue for blue's sake, making sure each line carried genuine content. At Chance Operations delivery really counts: Entertainment is valued. And real entertainers don't falter, shuffle through papers, get self-conscious, apologize for their material, mumble or mess up, and they care about timing and shadings in volume, speed and tone. They can't be worried about their clothes or looks, so I wore the simplest possible thing. I wanted first to have no patter at all before and between poems but saw I needed to give context at least twice but kept it very short. While rehearsing I kept revising, so the poems were not completed until the day of the reading. It was evening and I knew I would be physically tired before I even started, so I asked to "go first" and carefully geared myself up with a cup of coffee and protein, and sat alone to get focused and centered. It was going to take enormous confidence. I have never disciplined myself so severely for a poetry reading. The preparation paid off, though. Entertaining is no joke!

My co-readers on that evening were Eileen G'Sell and Gabriel Fried. The photo was taken by Tony Renner. Thanks to Chance Operations for the chance!