Saturday, March 14, 2020

two one-line haiku at Bones

Two one-line haiku in the March 15, 2020 issue of Bones: journal for the short verse (no. 19).

In issue 19 the poems are arranged by each poet's first name; mine appear on p. 59 & 60.

This is the second time my haiku have appeared in Bones. I never posted a link to the first, so I'll do that now. Back then it was called Bones: journal for contemporary haiku:

The poems appear on pages 3 and 38. They are rather weirder than the newer poems. It’s pretty cool that Bones remains open to poems that are rather weird. 

Friday, March 06, 2020

Six chapters from “Autobiography of a Book” at Inverse Journal

At Inverse Journal you can now read
these six chapters of “Autobiography of a Book”:

“in which the book’s thought presents horns and a cymbal”
“in which the book compares its words to yours”
“in which the book sees the reader come to a similar fate
“in which the book releases the kickstand” 
“in which the book’s efforts are exhausted, temporarily” 
“in which the book goes from house to house” 

Inverse Journal is an international literary journal based in Kashmir. Last year the Indian government cracked down harshly on Kashmir. Editor/publisher Amjad Majid shifted the focus of the journal to getting word out about what’s been happening there. You can read some of this information on the homepage under “Kashmir 2019 Siege.” 
Though the siege continues, the editor has decided to put energy anew into literature, thus this publication of excerpts from “Autobiography of a Book.” 

Monday, January 13, 2020

—ah: anthology of American Haiku, Mondo edition




—ah: anthology of American Haiku, edited by Jonathan Hayes and Richard Lopez, published by Poems-for-All Press, San Diego, California, was originally printed in 2016 in a very small format, that is, it was about the size of a matchbook. 

I just received in the mail the second edition, the Mondo edition, so called because it is three or four times the size of the first, that is, about the dimensions of a postcard. 

Fun that my haiku get the last page, the last words, as it were. 

If you want to write to editor Jonathan Hayes: haiku@poems-for-all.com

Tuesday, December 31, 2019

2019 in publications

A quick list of the places that included something of my work in 2019:

Futures Trading
Columbia Journal
The Curly Mind
Cleaver Magazine
Poetic Diversity
Scarlet Leaf Review
Humble Pie
Blue Unicorn
Caveat Lector
Angry Old Man
Bindweed
Shot Glass Journal
Origami Poems
riverbabble
EgoPHobia
Otoliths
Literary Yard
Failed Haiku
sPARKLE + bLINK
Bay Areas Generations program
The Furious Gazelle
The Berkeley Times
The Free Library of the Internet Void
Packingtown Review
The Big Windows Review
BlazeVOX
Rusty Truck
The Pangolin Review
MARY: a journal of new writing

a Viable chapbook from Zoetic Press

Our Lady of Telegraph Avenue: tributes to Julia Vinograd 
an anthology published by Zeitgeist Press

and finally, but most majorly, the big book:
Thousand, a ten-volume prose poem epic, from Mel C Thompson Publishing


If you go back through the blog year you will find links to the zines and the poems. 

Sunday, November 24, 2019

Our Lady of Telegraph Avenue: tributes to Julia Vinograd, contains “Old Blues” by Glenn Ingersoll

A release party for Julia Vinograd’s first posthumous collection, A Symphony for Broken Instruments, and an anthology celebrating her life and work, Our Lady of Telegraph Avenue, happened on 2pm, October 20th at Himalayan Flavors, 1585 University Ave. in Berkeley, California.

Zeigeist Press publisher Bruce Isaacson is responsible for putting together A Symphony for Broken Instruments, a selected works with a section of previously unpublished poems. The book is 384 pages total, including art by Deborah Vinograd and Chris Trian. At the same event, editor Deborah Fruchey presented Our Lady of Telegraph Avenue, full of tributes (poetry & prose) to, for, and about Julia Vinograd by a slew of friends and local writers.

The above is an edited version of what appears on the Zeitgeist Press website. 

My poem, “Old Blues,” appears in Our Lady of Telegraph Avenue, p. 54 - 55. “Old Blues” uses one of Julia’s recurring characters, although he isn’t actually in the poem, rather other characters (Very Thick Blacks, Vicious Violet, etc.) wonder where he’s gotten off to. 

I wanted to write something for Julia, and I thought it would be nice if it was included in the announced anthology. I considered reviewing my history with Julia, such as it was, meeting her first at a reading she gave at a Berkeley Senior Center the week I moved to Berkeley, buying each of her new books as it came out, selling her a chapbook which she praised. But that stuff wasn’t resolving into a poem. So I pulled out my personal anthology and reread poems of hers I had copied out. What did I like about her poems? One thing I liked was the way Julia Vinograd wrote about music, her wild metaphors creating a separate musical world instead of using music-related terms and concentrating on the instrument. It was a sort of grounded surrealism, grounded in that she was digging into the music to bring out feelings and images, rather than spinning words purely out of headspace. Maybe I could try something similar? I love using wild metaphors in my own poems. 

Here’s a stanza from “Old Blues”:

Old Blues is on the bus! announces Vicious Violet. 
She slaps a bus schedule on the table like a trump card. 
He’s playing for the missing,
that horn of his calling out all the stops, 
horning in on the dreams
travelers are trying to settle down in, 
vibrating their thighs,
unzipping their duffel bags to air out
the musky little tales they keep in a curl.

*

Both books, Symphony for Broken Instruments and Our Lady of Telegraph Avenue: tributes to Julia Vinograd, are published by Zeitgeist Press and are available from their website. 


Thursday, November 14, 2019

Sunday, September 29, 2019

renga in Berkeley Times, August 15, 2019

The Berkeley Times publishes an annual poetry issue. This year’s issue (August 15, 2019, vol. 9, no. 19) includes excerpts from the renga Alan Bern, Rebecca Radner, and I composed last fall/winter.