THIS is the best thing about this week: a stunning cover for my forthcoming poetry book, featuring a painting called “Censer” by Ida Floreak and designed by Nikkita Colhoon. Nikkita’s work was one of the draws, for me, in working with Tinderbox Editions–all her covers stop you in your tracks. I feel really lucky. I owe thanks, too, to Clover Archer for bringing Ida’s art to Staniar Gallery on campus, and to Kevin Remington for getting a high-quality photograph of the work. I went to Ida’s talk just as I was puzzling over possible covers, so there was something magical about the convergence.
Like Ida’s other work, “Censer” has a meditative quality I love. She’s arranged a shrine out of natural objects, highlighting their grace–and the cracking egg suggests rebirth (when am I being reborn again? I’m ready!). Ida says she’s influenced both by botanical drawings and religious art, and this book is full of plants, creatures, and spirit-questions. I had wondered what colors Nikkita would choose for the words on the cover; the pink is both surprising and right. The poems reference pink constantly, from pussy hats to magnolia blossoms to rose-tinted medicines. And somehow the pink lettering makes the shadows more striking, which feels appropriate to this collection, too. Yes, I know I’m close-reading my own cover at length, but I’m excited, dammit.
Of course, having a cover helps me kick publicity into high gear (well, as high a gear as I can manage in my rural location, with no publicist). I’ve been busy arranging a local launch and seeking readings elsewhere with more success that I’d expected but also some disappointments/ loud silences, as you’d imagine. Here’s a preliminary list, but I’ll fill in more details soon. One thought: I’d somehow imagined that when big-name poets posted their tour dates, bookings had just fallen into their laps, because of their dazzling fame. Maybe that happens sometimes. But now I’m suspecting there’s way more hustle involved (my list represents a ton of cold queries and painstaking applications, but also many kind suggestions from allies). I don’t have chutzpah but I am diligent, so I’m trying to compensate for one with the other. I’m also taking any and all ideas about reading venues and I’d be grateful for yours.
I’ll be traveling this spring and summer from Vermont to the Carolinas, with a detour to Wisconsin, and I’m both thrilled to get out there and a little worried about pacing myself. I’ve always been an anxious person but anxiety has been WAY harder to manage this year than ever before–the old tactics and treatments are almost useless, as they sometimes become during menopause, I hear, and I’m having to reinvent my approach. One of my doctors pointed out recently, “The bell rings, and you jump,” meaning I consistently meet my obligations, even when I feel bad. I even enjoy some of them–teaching and giving readings, for example, are generally fun for me. But the costs are higher; I take longer to return to calmness. So I’m thinking maybe I should pair each professional event with a restorative treat–following a guest workshop with a couple of silent hours in an art museum, for example, or a cozy dinner with Chris in an interesting restaurant. I also think I need to decouple the pleasure of sharing work from anxiety about whether the event sells books or not. Sometimes I feel wonderful, knowing that my poems connected, and then I feel crushed when all the impecunious people rush out without buying. But one should not negate the other. Ideas on how you manage the emotions of promotion would be very welcome, too.
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