“The Word ‘I'”

Another “thousand-year-old word poem,” in the Inflectionist Review: “The Word ‘I'”. The image is a detail the cover image by featured artist Poppy Dully.

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“Notes on Perimenopause” in the Journal of the American Medical Association

A poem about something that we don’t talk about publicly very much. “Notes on Perimenopause” (December 8, 2020)

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“A Sense of Location and an Act of Leave-Taking: Remembering Eavan Boland” in Poetry Northwest

A Sense of Location and an Act of Leave-Taking

I also have two poems in the Summer/Fall issue of Poetry Northwest, “In the Botanical Garden” and “Love” (which is another thousand-year-old word poem).

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“On Merrion Street” in the Los Angeles Review

The Oscar Wilde House at 1 Merrion Square in 1967 (photographer: Elinor Wiltshire; credit: National Library of Ireland)

I drafted this poem a few days after meeting up with Eavan Boland for a happy lunch and walk in Dublin between Christmas and New Year’s 2018, and revised it over the next year or so. It felt elegiac then. And now it is an elegy of sorts. I’m grateful to the Los Angeles Review for publishing it about six weeks after she died–but I would so much rather it were still in a folder and she were still here. I will never stop missing her.

“On Merrion Street”

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“Shelter”

ROOM coverA poem about staying “safer at home” during the pandemic: “Shelter” in ROOM: A Sketchbook for Analytic Action.

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The Arkansas International, #8

The Spring 2020 issue of the Arkansas International will be online for a month. It includes some beautiful work, including translations of Iranian poet Garous Abdolmalekian by Ahmad Nadalizadeh and Idra Novey from the forthcoming collection Lean Against This Late Hour (Penguin Poets, this month). It also has two of my poems in it–the first two to be published of what is turning out to be a series called “Thousand-Year-Old Words”–words that have existed in English for at least that long. Poems in this series include “Love” (forthcoming next year in Poetry Northwest), “Shimmer,” “Spell,” and “Home.” Here you can read “Strand” and “Loss.” And here’s a link to the whole issue.

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“Thirty-Year Friendship”

“Thirty-Year Friendship” is the third poem I’ve published so far from my third-book manuscript, which I’ve been working on for several years. It appeared this month in SWWIM Every Day, a thoughtfully and deftly curated (if I do say so myself) daily-poem site (and Facebook page, and mailing list).

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“Yes and No”

I published two poems in 2018, “Yes and No” in Ploughshares (not currently available online) and this poem, “A Liking for Clocks,” in Poetry Ireland Review.  These are the first two poems I’ve published from the manuscript I’m working on now, and it was really wonderful to have them appear in two magazines I admire so much alongside so many poems I was happy to discover.

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Malaprop’s Bookstore/Cafe in Asheville, NC

I’m reading at Malaprop’s on Sunday, July 8, in the Poetrio series with Chris Abbate and Jennie Boyd Bull.  (That link is a great place to purchase books and support an independent bookstore.  They also have some unique book-lovers’ merchandise.)

Malaprop’s Bookstore/Cafe

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“Among writers…the question is not who influences you, but which people give you courage.”

That quotation is from Hilary Mantel’s Paris Review interview, and I quote it in this interview with Bree Tadish from the UCLA Extension Writers’ Program.  Three more weeks until winter classes start!  Here’s one question and answer:

What do you hope your students get from your course(s)?
I hope that from the first day students feel that their journey as writers, wherever they happen to be in it, is honored by all of us in the workshop. This craft is never finished, no one has cracked the code, we’re all humbled by the art. If the class can serve as a welcoming, stimulating place where people can take artistic risks and receive feedback that helps them understand their own ambitions as artists better, they can keep growing as writers long after the course is over. The best classes I ever took made me both more humble about how hard it is to write well, and more audacious in my own ambitions, and I think humility and audacity make a great combination for any artist.

Interview (and link to course information and registration) here.

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