Skip to main content

Thanks Slipstream!

Happily, I came back from AWP to a PO Box full of rejection slips, my new Indiana Review (yes!), and an acceptance from Slipstream for my poem, "Women Like Me," appearing in issue #29, Spring 2009.

To order, visit:

It's a pretty classic definitional list poem: x=y, x=c, x=q. For example:

Blue birds are blue birds.
Blue birds are birds that think they are the sky.
Blue birds are feathers glued onto bone by a child
who wants to shoot the sky with his bb gun.
Blue birds are hot blue formica tiles cut up and soldered
into something resembling flight intersecting black tarmac.
Blue birds shit and fight and chase off gold finches.

What I like about the formula is that the farther along you go, the more interesting your definitions get as you come up with new insights, new language, new things to say. I think I'm going to do this thing again, for real though, not for blue birds, and this time list definitions for 'grotesque' in thanks to the last issue of Hayden's Ferry Review that I was editor for. Thanks everyone who came up to the HFR table at AWP with love for the issue. The HFR blog also has links to a very good review of the issue by The Review Review.


Popular posts from this blog

Women and Myth: Margaret Atwood and Circe

Circe, by Wright Baker "One day you simply appeared in your stupid boat," "Circe/ Mud Poems," Margaret Atwood, from You Are Happy I was alerted to this poem series by Estella Lauter's great chapter, "Margaret Atwood: Remythologizing Circe" from Women as Mythmakers. If you have the Norton Anthology of Modern and Contemporary Poetry, there is an excerpt in Vol. 2. And here is some interesting discussion of the text as well.

Armantrout's Feminist Poetics and the Meaning of Clarity

Because it doesn't seem to exist in digital form AT ALL, here's my annotation for this totally foundation feminist poetics essay. Rae Armantrout’s foundational essay “Feminist Poetics and the Meaning of Clarity,” offers a way of understanding the social in experimental poetry that is critical of a particular type of lyric subjectivity, described as univocal, closed, Romantic, imperial, and appropriative. For Armantrout, the stable poetic subject is inherently appropriative, serving epiphany demanded by mainstream form, constructed by metaphor’s appropriative nature. Armantrout specifically calls out the type of poems that most agree constitute conventional poetry of witness: “The conventional or mainstream poem today is univocal, more or less plainspoken, short narrative, often culminating in a sort of epiphany” (Armantrout 288). Elaborating, Armantrout argues that “such a form must convey an impression of closure, and wholeness, no matter what it says” (288). Closure an…

Feminist Ekphrasis: Margaret Atwood and Manet's Olympia

Margaret Atwood confronts the male gaze directly in her poem, "Manet's Olympia."