Skip to main content

My Horn



I want to take a second to suggest to everyone that they send some work out. Since I've had some time off from working, I've been on a major rampage submitting to journals and book contests. This has led to a lot of rejection, and I'm happy to share with you, some success!

Thanks to Cider Press Review, Puerto del Sol, and Gulf Coast , and Pebble Lake Review for my recent acceptances.

Thanks also to the Cider Press Review Book Award for naming my manuscript, Mystery School, a finalist in their 2008 Book Prize.

To read the poems, here's a link to the magazines.

http://www.puertodelsol.org/current.html Look for "Trojan Horse," in Spring 2009.

http://www.ciderpressreview.com/archive/volume9/index.php Look for "Love Poem," and "Museum," in Volume 10, Spring 2009.

http://www.gulfcoastmag.org/index.php?n=2 Look for "Apocalypse," in Fall 2009.

http://pebblelakereview.com/Look for "Pescadita," in the Health and Illness issue due out in May.
Labels:

Comments

Post a Comment

Popular posts from this blog

"Self-Portrait as Medusa in Shock" Jayme Ringleb

"Self-Portrait as Medusa in Shock, " Jayme Ringleb, Puerto Del Sol Online, is such a lovely and challenging ekphrasis. I won't quote any of it, because there is this seductive kind of movement in the poem, like very classy striptease, a dance of veils, or the pulsing of a jellyfish, that when relaxed, its nearly transparent arms floating away from the body, allows you to see more clearly through what when held tightly concealed those mysterious internal structures. The layers of ekphrasis in this poem are constructed like a nesting doll, each stanza with a lovely similarity, a theme, but each leading more intimately to the interior. The poem begins in the natural world of the jellyfish, which is written over by classical myth that shares the creature's name, which in turn is compared to Biblical stories of resurrection, before the poem finally turns toward memoir. There the poem compares this idea of the classical Medusa, being confronted by her own fatal image t...
Post a Comment
Read more

Ghosts

After Cara Mujer some silences, like soured linens, the too long gone on uncleanness in dreams, smells become characters that speak and move one of you, in a house of so many empty rooms you offer but my child will not sleep a billowing curtain is some historical, hysterical woman in a red floral print she will not quit her haunting until a tall opera singer blasts the hallway with her clear supersonic voice one of you, you come to my house while it is being built, I have to wrestle the door moulding from your hands and ask you to leave one of you, I find you dressed as a teacher in the back pews of religious high school assembly with my old bible/computer science instructor, and I mutter through the sermon and the children ask me to leave these vapors and their faces take so long to wash out
Post a Comment
Read more

Poem on Poem Ekphrasis: Brian McHale's Feminist Reading of Berryman's Homage to Mistress Bradstreet

In Brian McHale's The Obligation toward the Difficult Whole: Postmodernist Long Poems , he starts his chapter on Susan Howe's The Europe of Trusts with a short introduction to the idea of silence of women and the canon, describing "Berryman's 'Homage'...as a kind of parable" of "the received version of literary historiography" in which women are silent or overwritten (205). McHale argues that Berryman's "poetic 'homage' to the precursor-poet consists in silencing her." (205) Anne Bradstreet , in "Upon a Fit of Sickness" writes, 'Bestow much cost there's nothing lost,/ to make salvation sure,/ O great's the gain, though got with pain, / comes by profession pure." In "Homage to Mistress Bradstreet" , Berryman says as Bradstreet's persona "Hard and divided heaven! creases me. Shame /is failing. My breath is scented, and I throw / hostile glances towards God. " You mig...
1 comment
Read more