Founded in 2001 as a poetry collective, Marsh Hawk Press has evolved into a self-sustaining publisher that prides itself on its authors’ involvement in every stage of the publishing process. Our books' forms and sensibilities assimilate modern and post-modern traditions of poetry and memoir but expand from these without political or aesthetic bias.
A sari-sari store is a convenience store found in the Philippines. The word sari-sari is Tagalog meaning "variety". Such stores form an important economic and social location in a Filipino community. It is present in almost all neighborhoods, sometimes even on every street. Most sari-sari stores are privately owned shops and are operated inside the shopkeeper's house. Commodities are displayed in a large screen-covered or metal barred window in front of the shop. Candies in recycled jars, canned goods and cigarettes are often displayed while cooking oil, salt and sugar are often stored at the back of the shop. A small window is also present where the customer's requested commodity is given. A cigarette lighter tied to the window can also be found. Benches and sometimes tables are also provided in front of the sari-sari store. A shade is placed above it which is also used to cover the large window when the store closes.
Dona Tilan Valdez's sari-sari store in Ilocos Sur, Philippines
Sunday, December 7th at 6:30 Left Bank Books 17 8th Avenue—Near West 12th Street NYC 10014
Burt Kimmelman's eighth collection of poetry is Gradually the World: New and Selected Poems, 1982 - 2013. His work is often anthologized, has been featured on NPR’s The Writer's Almanac, and has been the subject of a number of interviews, articles or reviews. More information about him can be found atBurtKimmelman.com.
Jon Curley is the author of three collections of poetry: New Shadows, Angles of Incidents and the forthcoming Hybrid Moments. He teaches in the Humanities Department at New Jersey Institute of Technology in Newark and works with children at Battery Park in Manhattan. Poet Fanny Howe has described his work as "New England-y and gnostic." He lives in New York.
We're delighted to share that Norman Finkelstein's prowess as editor is among those highlighted in Library Journal's recent article on "Exciting Titles for Poetry Lovers." Congratulations for his edited book, A MOMENTARY GLORY: LAST POEMS by Harvey Shapiro (Wesleyan University, 2014), being among the lauded titles featured HERE.
Marsh Hawk Press offers a "Three Questions" Series for its authors to discuss individual titles -- an index to the Series is available HERE. We are pleased to present this Q&A with Norman Finkelstein and his 2010 book:
What is something not known or obvious about your book Inside the Ghost Factory? Some, but by no means all readers, will
recognize that the “ghost voices” that rise up from under the line at the “end”
of many of these poems is a device originally used by Jack Spicer in the
“Homage to Creeley” section of his book Heads
of the Town Up To the Aether. It has also been employed, with a
somewhat different twist, by Nathaniel Mackey (in Mackey’s work, the text below
the line is often as long as the original poem, and serves almost as a
rewriting or a different “take” on the original). Once I got into it, the
device offered all sorts of possibilities, and intensified what I understand to
be the dark comedy of the poems, a comedy also based in discursive code
switching, ellipsis, non sequitur, and ironic allusion.
Please share some responses to your book that’s surprised you, or made you
happy or disappointed. If your book is relatively new, share some of your
hopes for how readers might respond or how the book finds its way in the world. Since my feeling about Ghost Factory is that the poems inhabit a space somewhere between
humor and terror (at least, that’s how I felt while writing them), I was
surprised to hear recently from a new reader that he found the book consoling after suffering the loss of a
beloved mentor. Needless to say, I was very moved by this response, and it has
led me to reflect on what exactly is going on in these poems, which are often
as mysterious to me as to any of my readers. Perhaps there is something
comforting about finding out that you’re not alone in the dark—even when
whatever is there with you is not necessarily concerned with your best
If you had to choose a favorite poem or a poem to highlight from the book,
which one would you choose and why? I have great affection for a lot of the
poems in Ghost Factory; I find them
weirdly companionable and charming years after having written them. And they
opened a door on whole new dimension in my poetry, which continues up until
today in the series I’ve been working on recently, From the Files of the Immanent Foundation. I guess my favorite, or
one I would highlight, is “Advertisement.” It was the second poem in the
sequence, but the first in which the possibilities of that particular kind of
discourse really opened up. And not incidentally, it came to me as one of the
purest instances in all my years of writing of what Spicer calls “dictation.” I
was alone in the house, I had poured myself a glass of wine, I opened my
notebook, and in an instant the poem began to write itself. Looking back, I see
that the poem is dated 11/16/06. The draft is absolutely clean. A gift.
Marsh Hawk Press offers
a “Three Questions” Series for its authors to discuss individual titles -- an Index to the Series is available HERE. We are pleased to present this Q&A with
Tom Beckett and his Marsh Hawk Press book, recipient of the 2013 Marsh Hawk Poetry Prize:
Dipstick(Diptych) comprises two
long poems: “Overpainted Thresholds,” and “I Forgot.”The book’s title alludes to its having two
parts; but is the “dipstick” crossed out because it’s a mispronunciation of
“diptych,” or because the book both is and isn’t an instrument for taking the
measure of something?Or…?
2)Please share some
responses to your book that’s surprised you, or made you happy or
“I Forgot,” the final
poem in my book, was inspired by Joe Brainard’s great I Remember, his stunning catalogue poem of “I remember”
anecdotes.I wanted to pay homage to
Brainard but I thought it might be interesting to approach memory from the
standpoint of anecdotes and statements about things I’ve forgotten.For example:
I forgot which version of my story was a fantasy
I forgot to put the leftovers in the fridge.
I forgot my lines.
I forgot to meet you halfway.
I forgot to tighten the bottle cap.
I forgot that you are allergic to shellfish.
I forgot that you are my sworn enemy.
I forgot that your political views are repugnant to me.