Breaking Stereotypes With Poetry

"Following Hope" (Xlibris, April 2007), my first collection of poetry, set the tone for the intentions of my career. A resounding effort to shatter the stereotype of what is expected of an Appalachian poet, the collection is a true celebration of multiculturalism, travel, and multimedia.

The poems therein are varied in make. There are multi-stanza poems, short meditative pieces, lyric free verse and melodic alt-forms. This is less the pastoral, ancestor-oriented work commonly associated with Appalachian literature and more the complex, interpretive and experimental lyrics of contemporary poetry as is being written throughout America and the Western world today.

The subjects are also more profound than might normally be expected. The predominate theme is that of betrayal on many levels, but mostly in the area of sexual violence and its aftermath. Also addressed is abandonment by a parent, by a lover, by nature and by life- real or perceived. The betrayal of the self is not left out of this equation. It is not a collection for the squeamish or those more comfortable with light verse and greeting card verse. These are serious pieces about thought-provoking, serious subjects.

But not all is dark. While not flinching from these indescribable experiences, the collection focuses on the ability of the human spirit to rise above such horrors: to always look for hope (a white bird always refers to hope), to refuse to remain victimised, to use these experiences to learn strength, and even to be able to open oneself up to vulnerability and relationships willingly and unfailingly loyally.

The photos peppered generously throughout the book reflect this positivism. Taken by Northern Irish photographer Jan McCullough, they are mostly clean youthful portraits with stunning emphasis on the eyes of the models. A few were taken by myself and these are credited appropriately in the acknowledgements section. The cover photo was taken by Jessica Marshallsay quite by accident, but what a lovely accident!

The end result is a visually pleasing book that reflects the message of the poems therein. It has received glowing reviews every time it has been reviewed. These reviews can be read at my website, (www.sabneraznik.com). Following Hope is available everywhere online- including Amazon.com and Ebay.com- in softcover format. It is also available in hardcover if ordered directly from the publisher at www.xlibris.com/FollowingHope.html.

My second collection is still in manuscript form and currently making the rounds in search of representation and/or a publisher. It's title is in a state of flux. "Whethering: shiir" was thrown out because similar titles have been used for poetry collections recently. Currently, its working title is "Habibi". It will continue the aims of stereotype breaking and take it to another level. The poems will be even more varied. There will be experimentation with syntax, concrete poetry, even shorter poems, my first attempt at blank verse, and my only attempt thus far at a performance piece.

These poems are love songs which remain interpretive in nature and, therefore, have multiple possible meanings. These are addressed to a lover, an unrequited love, God, and the exotic all at once. There will be a notes section which will translate phrases and words that appear throughout in a total of 11 or 12 different languages, some of them ancient. These notes will also help with references made throughout that shift all through the long and rich history of the Middle East. It will be a celebration of the beautiful, of music, photography, dance, love, loss, hope, Appalachia, and language. All of this climaxes in an eerily Irish sort of keening to full effect.

The photography of Jan McCullough will be featured once again, this time all alone. From the cover and on, every photo will be McCullough's work. These will be scattered more sparsely throughout. This time, the photos are abstracts of broken, rain-damped streets superimposed with artistic nudes.

I do not know when it will be available for sale since I am still looking for an agent and/or publisher, but I can assure you it will be worth the wait. The interpretations of my work given in this article are subjective and merely one way of perceiving it. I believe it is the perogative of the reader to apply it to their individual situations as it suits them.

Care and Feeding of Nightmares

For anyone who would like to purchase my 2nd chapbook of poetry, "Care and Feeding of Nightmares" - you can email me at:

careandfeedingofnightmares@gmail.com

with your snail-mail address. The books are $5 each plus $2 for shipping and handling. I hope to have PayPal set up on my blog in a few weeks for payments, but currently I can only accept checks or money orders. I will mail out the book on the day I receive your order. You can also buy the books at J. Sampson Antiques on Main Street in Harrodsburg. Thanks to everyone who buys a book!

Put an End to Poetry Rejection Letters

Tired of having your poetry rejected from literary magazine after literary magazine? Then check out this new article from WRITER'S RELIEF - "Poetry Turnoffs - Styles and Formatting That Make Editors Cringe." It is very informative and may just turn your rejection letters into acceptance letters.

Bad News ...

... I'm sorry for being so out of touch, but I have some bad news to pass on to all my bloggy friends.

My mom passed away Sunday evening about 6pm. She was only 65 yo, but she had been in poor health for at least the past 6 months. We tried a few things in CCU to try and wake up her kidneys and other organs back up, but when we realized they weren't working, daddy made the decision - the right decision and mom's wishes - to turn all the machines off. She was in no pain and thankfully went peacefully.

Please keep my family in your prayers ...

Kentucky Writers' Day

The Kentucky Arts Council will celebrate Kentucky Writers' Day at 10am Friday, April 23rd in the Capitol Rotunda in Frankfort.

Past Kentucky Poets laureate Jane Gentry Vance (2007-2008), Sena Jeter Naslund (2005-2006), Joe Survant (2003-2004), and Richard Taylor (1999-2000) will give readings of their work as part of the event.

A special receiption to honor all Kentucky writers will follow at 11am on the mezzanine level of the Capitol. "Five Kentucky Poets Laureate: An Anthology," "Abraham Lincoln of Kentucky" and poet laureat broadsides will be offered for sale at the reception.

Kentucky Writers' Day is officially April 24 in honor of the birth date of Kentucky native Robert Penn Warren, the first poet laureate of the United States and winner of three Pulitzer prizes.

This event is free and open to the public.

Book Signing Party

The SPEAKING OUT VOLUME 2 book signing party has been scheduled for Thursday, April 29th at 6:30 upstairs at the Fudge Company at 225 South Main street. We hope all our authors will make plans to attend. We will begin selling the books that evening, and you may pick up your book then, and hopefully many of you will choose to read some of your entries. Please, pass the word, we would like this to be a huge event.

Hey guys, we have signed off on the proof of Speaking Out! Volume 2! It is bigger and definitely better that Volume 1! I hope you agree. They should ship within the next two weeks, so it is almost time to party down and sign some books! Remember, everyone who contributed to the book gets a free one. We hope you will all be on hand to sign copies.

Any suggestions for a venue for the book release party?

Thanks,

Roni

In Defence of Free Verse

Free verse was first used by French symbolist poets in the late 1800s. T. S. Eliot was among the first poets writing in English to adopt it and introduced it to the English- speaking world by its French term, vers libre. He and other Modern poets adopted it in reaction to the disorientation that resulted with the advent of World War I. Since then, it has become the most used form (yes, form) of Western poetry. Many poets employ it as their default mode of expression. Because so much of free verse has been poorly written in recent years, and because confessional poetry (which free verse is closely associated with) has long since fallen out of fashion, there is a movement in the poetry world at the moment that declares it dead, used up, even inferior. Many are almost fanatically advocating the return of form as the mode of choice for 21st century poets.

But the very existence of such an ideal reveals an ignorance concerning how poetry is being practiced today and what exactly free verse (vers libre) really is. This ignorance is rather surprising when one takes into account the over-emphasis on academic degrees, professorships, and lecture posts among contemporary poets- so much so that the casual observer and beginning poet may come to think these are required for one to be a true poet.

The argument in favor of a return to form ignores two facts. One, that a large portion of contemporary poets utilise both traditional forms and free verse throughout their various oeuvres. Two, that free verse (vers libre) is itself a poetic form and, after more than a century's use, might well be considered as a traditional form in Western literature.

As for that first point, one could easily pick up the Collected volumes of any number of well known poets publishing today and see the truth of it. Many of our most beloved poets do not limit themselves either to free verse or tradional forms alone, but freely and skillfully employ anything available to them.

As for the second point, it is true that many use free verse incorrectly and lazily. Many mistakenly believe that free verse means that the poem can have no structure at all. Many poems passed off as "free verse" amount to little more than prose poems with line breaks and even stanza breaks. Some of it cannot even be loosely considered as prose poems. It would be beneficial to remind some that sentences seperated by blank spaces on the page do not make those sentences poetry. In fact, free verse is very structured and requires some skill to write in a satisfactory manner. It is a form.

Perhaps the best example of what I'm trying to clarify is the work of T. S. Eliot himself: "The Waste Land". Anyone who has taken poetry classes in any college in the U. S. has had to dissect this poem. Look closely at it again. It is written in free verse (or as Eliot himself would have called it: vers libre). But what is it that makes it liberal or liberated as a form? You will quickly see that it is not a total lack of form. In fact, it is a potpourri of forms. And that is what free verse is: it uses what is commonly refered to as the traditional forms and slips in and out of them freely. Sometimes these parts rhyme and sometimes they don't. But never is there a moment in that poem where form does not exist. One piece may be blank verse, another a variation on a sonnet. It changes. It is fluid. It is living. But it is undeniably structured.

When one realises that free verse is actually a sort of tiny collection of forms, and thereby a form in its own right, the argument that one needs to turn one's back on it as poetry in order to return to form negates itself. The sentiment that it is used up also becomes unreasonable because the problem that has brought up that sentiment is misuse (or no use at all) of free verse brought on by a collective misunderstanding of what it is. In theory and in practice, there is no limit to the variation and possible manipulations of the free verse form, just as there is no limit to the variations and possible manipulations of the sonnet (and most of the other traditional) forms. How then could it be out-of-date, undesirable to use, and time to dicard it?

Speaking Out Volume 2

Here is the cover for Speaking Out Volume 2. Hope you like it.

It does look like Mercer County I think.

Speaking Out! Volume II has been sent to the publisher and we should have the galley to proof sometime this week. Thanks for your contributions. I think we had a total of 29 authors to submit works, and all submitted more than one entry. Be sure to watch this site for news about the book release party.

Betty and Roni