Wednesday, December 4, 2019

ON HARRIET ZINNES

From Burt Kimmelman:

Harriet Zinnes, whose loss we feel deeply, had a full life, and we were, in her poems and other writings, the beneficiaries of that. The following is a passage I’ve modified from an unpublished essay that awaits some final editing from a journal where it will appear eventually. The essay discusses a poet’s late work. Those of us involved with Marsh Hawk Press were so very lucky to have been involved with Harriet’s late poems, which the press published, several volumes of them—and they’re a rare contribution to the canon. 

The passage from my essay goes something like this (here I’m starting in medeas res):

Perhaps Adrienne Rich had some, let’s say, unfinished business to take care of—which is not the same as what often most frightens a poet as she ages: self-repetition. Yeats’s late work has of course been the subject of so very much, justly reverential, commentary. The challenge for Yeats was, Peter Ure points out, “to discover his role in a universe.” Yeats’s diary stipulates a “reason for putting our actual situation into our art”—which is that “the struggle for complete affirmation may be, often must be, that art’s chief poignancy.” It’s fair to say that a substantial amount of Yeats’s late work is taken generally to be of equal power and grace as his earlier poetry. 

                 I’ve thought a lot about William Bronk’s concise, dense, late statements. They don’t possess the majestic sweep of his poems at middle age (in terms of line length, overall volume, the philosophical punch in the solar plexus). His late poems, however, hold their own, and they do seem typically of him. For me the comparison here is with someone like Harriet Zinnes; her late poems—their ethereal, sprightly, fleetingly brilliant statements seeming to have come from beyond the veil—are exciting in their exquisite lightness yet intrigue, which doesn’t dissipate. Zinnes’ last poems are supremely graceful, intelligent, paradoxically profound in their sheer defiance of gravity. Yet I’d not be surprised to find readers of her work over the years as feeling that the late poems are a distinct departure. They strike me as drawing upon the same wellspring of insight, finally, and possessing an eerie refinement—which in a way was less on display before, perhaps obfuscated by something more grand in presentation.

We, at Marsh Hawk Press, were so very lucky to have Harriet, her work, within our midst. She lived a long and full life, and we were only a few of the beneficiaries of that.

  • Burt Kimmelman

Tuesday, December 3, 2019

R.I.P, HARRIET ZINNES

The Marsh Hawk Press community is sorry to learn of the passing of Harriet Zinnes. According to her family, she “died peacefully in her sleep Saturday morning. The whole family except her niece who lives in Singapore was there.  She was 5 months shy of 101. She left in peace, in her sleep, with very little suffering.  The night before she listened closely to her son playing the piano, and was able to discern that he needed to practice more (we all laughed, because she was so right), and we played a silly game at the dining room table after dinner.  On her way to bed she asked that we be sure her notebook was right next to her in case she awoke in the middle of the night to write a poem, a habit she’d had for years.”

Rest in Peace, Harriet.



Sunday, December 1, 2019

REVIEW FOR EILEEN TABIOS' IN(TER)VENTION OF THE HAY(NA)KU!


Maileen Hamto reviews Eileen R. Tabios' new Marsh Hawk book, The In(ter)vention of the Hay(na)ku ... which also just appeared on SPD Books' Recommended List! Here's an excerpt of the review which you can see HERE:
“Poetry rules are sometimes made to be broken,” Tabios writes. At its core, the Hay(na)ku is liberatory and emancipatory, similar in magnitude to the genius of Black American inventors and innovators in literature, music and other creative pursuits. By developing the Hay(na)ku, Tabios invited her contemporaries to define FilAm, U.S.-born-and-bred poetry from brown-skinned Filipinos, to cease conformity with white supremacist notions of “goodness” in art and the expectation of appeasing the tyranny of literary gatekeepers in order to be validated.

Wednesday, November 6, 2019

BURT KIMMELMAN AT DICHTUNG YAMMER

Burt Kimmelman and Thomas Fink offer a deeply-satisfying conversation in the latest installment at DiCHTUNG YAMMER.  Here’s an excerpt:

I do want my poems to exude clarity and an affect of clarity as well, and to haunt the reader’s inner experience. I guess the single-syllable vocabulary—that makes for a clarity. But what is involved in that clarity? It’s difficult to find an abstraction signified in a single syllable word. And then again, in English, the specter of the language prior to 1066, the Norman Invasion, and the transforming of the language in most ways by French inclusion, is never really far from us, albeit we don’t always pay attention to that. The English (German-speaking) peasants did not suffer the pressure from their masters to abandon their German, to use French. (The French aristocrats didn’t see the peasants, really, as human beings, so while they brutally imposed their new language upon everyone but the peasants, in an attempt to expunge a cultural memory, the peasants, illiterate, kept right on with their lives.) Many of our words for basic everyday things (including the word thing) is an inheritance of much earlier incursions into the British Isles by German tribes like the Angles and Saxons, having origins in German, not French, Latin or Greek. I always think of Oppen’s reference, in an interview, to the “little words that I like so much.” I want to reduce language to the poem’s essence, which, you might say, could nearly exist without words—but of course the beauty of poetry starts with the words.

Sunday, November 3, 2019

EILEEN TABIOS' MINIATURE VERSION OF HER NEW MARSH HAWK PRESS BOOK


Eileen R. Tabios' new book The In(ter)vention of the Hay(na)ku is available through SPD Books and other outlets. While it technically is released on Dec. 1, 2019, Eileen has commenced an Author's 2019 Holiday Special involving an enchanting miniature book!

The In(ter)vention...'s mini-book version--sized at 1-7/8" x 2.5"--can work as a Christmas Tree ornament. If you don't traffic in Christmas or Christmas trees, the ribbon used for hanging on a tree can be used as a bookmark. There are poems within the miniature book, as shown by the images below. 

This miniature book, available in a lovely Holiday-red gift bag, is available for $10 (plus $5 shipping). You can purchase just the miniature book or use its purchase for a credit of $10 off of the larger hardback release priced at $29.95. Yes, this means that for the price of the hardback, you also can get the charming tiny book!

Optionally, if you wish to give either the miniature book or miniature plus large books as a holiday present, Eileen is willing to gift-wrap them both and send them on your behalf to the gift recipient. (Free gift-wrapping.) A perfect gift for introducing poetry to, or sharing new poetry with, a reader!

Naturally, books can be signed!  If interested in this offer, email Eileen Tabios at galateaten at gmail dot com  . Offer good while supply of miniature books last!

Meanwhile, here are pics:








The miniature book is produced by OnceUponTheTree (Apollo, PA).




Saturday, October 26, 2019

MARSH HAWK REVIEW, FALL/WINTER 2019

Marsh Hawk Review's Fall/Winter 2019 issue, edited by Thomas Fink, has just been released. You can see it HERE. Here are the participants:



Sunday, October 6, 2019

SUSAN HOWE TO JUDGE THE 2020 MARSH HAWK PRESS PRIZE


Judging the next Marsh Hawk Poetry Prize contest will be Susan Howe.

One of the preeminent poets of her generation, Susan Howe is known for innovative verse that crosses genres and disciplines in its theoretical underpinnings and approach to history. Layered and allusive, her work draws on early American history and primary documents, weaving quotation and image into poems that often revise standard typography. Howe’s interest in the visual possibilities of language can be traced back to her initial interest in painting: Howe earned a degree from the Boston Museum School of Fine Arts in 1961, and enjoyed some success with gallery shows in New York. In addition to painting, Howe studied acting in Dublin. From an artistic, intellectual family, Howe’s mother Mary Manning was an actress and her father a law professor at Harvard; Howe’s sister Fanny Howe is also an acclaimed poet.

Go HERE for more information.