I’m not processing very well, here at the quiet edge of apocalypse. Sometimes I’m fine, scared, down, or stir-crazy; often I’m busy teaching remotely, being fortunate enough to still have a job; generally I can’t concentrate. New York City has always been the center of the world for me; how will it fare? When will everyone have access to testing, so we know the scope of things? A few steps from now, what will happen?
I wonder, too, what art is in the pipelines now, and to what extent those pipelines are or will be blocked. My novel, Unbecoming, was available for pre-order for a hot second and scheduled for publication on May 1, but now that’s been postponed. My publishers are in Washington State and can’t safely mail out copies, and one of their key distribution warehouses is not accepting shipments anymore. I hope the book is for sale in time for my reading dates this summer, but who knows how much we’ll be traveling and congregating then anyway? One nice augury, anyway: it just earned a star and a lovely review from Publishers Weekly. At least one stranger likes it! That’s more of a relief to me than you might expect. A debut work in any field–who can really judge her own writing, at first venture?
Many have told me that the novel will do better at a later date, anyway; apparently the brilliant Margot Livesey launched a book on 9/11/01, a day of crisis for all kinds of art, and I heard from many people that nobody bought books right after Trump’s election. I am also relieved to focus for longer on the virtual launch of The State She’s In, my fifth poetry collection (also languishing in a locked down warehouse, although copies are available directly from my saintly publisher, at least for now–this has me suspecting that a ton of books from independent presses must be similarly stranded). People have been generous about helping me publicize it over social media and otherwise, although general sadness has put me behind on sending in the recordings people have asked for. Here’s an interview Will Woolfitt posted on his terrific Speaking of Marvels blog. And I’m going to keep paying poetry back by putting up virtual poetry salons, although with the term in gear again, I might be slower.
The picture above is from last Saturday’s drive to the nearby Blue Ridge mountains, where we’re trying to take walks most weekends to watch spring’s advance. It’s beautiful out there in a way that seems bizarre and reassuring in turns. The photo below is of three new anthologies I’m fortunate enough to have a poem in–all of them terrific and all of them coming out, as my own books are, at a pretty difficult moment. Here’s a shout out, then, to Choice Words: Writers on Abortion, edited by Annie Finch; Dear America: Letters of Hope, Habit, Defiance, and Democracy, edited by Simmons Buntin, Elizabeth Dodd, and Derek Sheffield; and Rocked by the Waters: Poems of Motherhood, edited by Margaret Hasse and Athena Kildegaard. The Tables of Contents of all three brim with the names of the writers I admire most, and all bring together immensely powerful and moving work. Having work in them is good company. I’m also proud to have an essay on Millay’s abortions, “The Smell of Tansy through the Dark,” in the latest Massachussetts Review. I’ve talked to several editors of print magazines who were rushing to send off spring issues before their university mail services ground to a halt, and I’m so glad this one made it. I wonder how the publishing landscape may change for them and others. One good thing: Ecotone’s most recent issues, a couple of which I have poems in, are temporarily free online. What a gift to the housebound!
I am writing a bit for National Poetry Month, without confidence that I’m producing anything lasting, although I’m not able to get myself together to mail recent work out. And for Shenandoah, I’m reading the 650 batches of poems that came in during our 2-week March reading period (holy cow). My first read is usually a quick-ish screen to winnow the submissions down to likely top contenders, and I’m only halfway through that; it’s going to take a while. Looking off the edge of this April, though, I feel confident that Shenandoah WILL keep bringing you great art. So many collaborative artistic productions are stalled now, but writing is cheap and lonely, any season. We’re all going to go through weeks of blockage and flow, I guess, but you can’t stop poetry.
One response to “Looking off cliffs”
Both views do my heart good!
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