Lots of stress on this bucket of bolts lately–family, health, and writing-related–but I’m tickled to report that my first poetry comic has been published by the gorgeously-redesigned Split Lip Magazine. My spouse Chris Gavaler and I created it a couple of years ago; he made the images and I wrote the words, although there was some cross-influence in revision, more or less as we’ve cross-influenced each other in life (“Go for it!”/ “Don’t wear that!”). To me, this comic is about a pretty-long-running partnership from a midlife perspective, very much inflected by the self-reassessment that happens when your kids grow up and move on (my daughter graduated in May and just returned home after a summer gig, and my son starts college in about 10 days). We’ve changed so much since we were undergrads together, and I love the way the images capture our disintegrations and haphazard rebuildings from odd materials at hand, bringing forward the idea of resourcefulness under constraint. Chris built these robots rather laboriously in an outmoded program; my constraints were spatial, meaning seven lines per poem, with the line-length controlled by panel-width and the letters of Chris’ homemade font. It’s so gratifying when you make something weird in a weird way, for fun, and other people like it enough to publish it!
Not much other luck in that department lately. Rejections are flying; I haven’t had a poem accepted in months. As I’ve said here before, though, I actually feel more philosophical about that since beginning to work on Shenandoah. You just have to keep trying, revising and targeting your work as intelligently as you can, but knowing there’s a heap of luck involved. Submission rates are very high, and chances of hitting the right reader in the right way at the right moment are low, so it’s a numbers game. I did some poetry revision/ submission work this week, though, and I’ll keep at it until the semester swallows me whole–I’ve also got essays to tweak and keep in circulation plus a difficult grant application to finish. The meetings and new-tech-training-sessions, all that late summer jazz, starts tomorrow.
I’m also sighing, but philosophical, about the timing of book edits. I’d hoped to have feedback in hand on two mss–or at least one of them–by early August so I could do at least some of the work before the term starts, and that no longer seems likely. Editors are heroes, and like me they have chaotic lives–so be it. There’s still a TON to do without waiting on anyone else, not least preparing my courses, finishing those submissions, and organizing all the book promotion work I have ahead of me during this very busy school year.
In the midst of all this, I followed a link yesterday to a powerful article in n+1 called “Sexism in the Academy.” ” Depending on the funding agency, the gender gap in winning grants is about 7 percent,” Troy Vettise writes in this heavily-researched and very persuasive piece, adding, “when women are successful in their grant applications, they usually receive less funding, about eighty cents to a man’s dollar.” Talk about constraints! Discouraging, but I was grateful for all the work Vettise pulls together here, documenting everything from discrimination in resources to the costs of harassment, and more. And the recommendations at the end are provocative in an exhilarating way, including radical structural changes to universities and foundations.
Our robot comic is, I think, also about ambivalence toward gender roles, both in Chris and in me. It’s hard to be your best self and do your best work with all the gender shrapnel flying–as if teaching and writing aren’t hard enough.
Well, “keep your skin on,” as the robots say. There’s change ahead, good and bad. My visor may be foggy, and my sensors all scratched up, but I just have to be a self-reconfiguring modular robot, slipping free of my programming and adapting to my own increasingly buggy hardware as well as the unpredictable terrain. I can do it. Right?
(because compost happens)
The work wants to be made
Writing from both sides of the brain
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
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Writer. Editor. Throwback Surrealist.
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(The poetry blog of Grant Clauser)
Into one's life a little poetry must fall