Denise Low on Moods in Poetry: Line Lengths

From MOODS IN POETRY by DENISE LOW, Ph. D.

Anger, joy, infatuation, grief: each casts a specific spell. Emotions may blaze or give off a slow warmth. When the poem is convincing, the emotion rekindles in the mind and body of the reader. Limericks set up expectations of humor, not elegies. Simple rhymes are for children’s verse, not odes to nightingales. Length of lines and overall length of poems can signal mood to readers without words. Here are some general examples:

SHORTER POEMS

Å     Spells: Repetitive short phrases and refrains to effect change

Å     Romance: Lyrical short poems, songs, and sonnets

Å     Anger: Personal and/or rage against injustice—quick and pointed

Å     Sorrow: Lyrical elegy (for lost love or lost souls), shorter poems

Å     Awe: Short expressions of intense surprise

MEDIUM-LENGTH POEMS

Å     Occasional poems: poems to commemorate public events, medium length (long enough to lend gravitas). These have moods that vary.

Å     Humor: Mixed forms with contrasts, tricksters, rhymes, irony

Å     Whimsy: Games, riddles, word acrobatics

LONGER POEMS

Å     Joy: Extended delight at a more conversational pace

Å     Celebration: The classical ode, a longer form

Å     Reflection: Compositions rooted in memory and observation

Å     Nature Poems or Biofilia: Patterns of nature’s processes

Å     Depression: Less intense poems, maybe with narration

EXERCISE: A SPELL POEM

Parallel, repetitive lines make this long-married love poem into a spell. Try this form with your topic.

I Marry Your    by Denise Low

I marry your late lamplight insomnia

I marry your pierced ear lobe with no earring, half closed

I marry your political views

I marry your stepfather who disappeared

I marry your warm hand’s fleshy comfort

I marry your sweet silky skin laid against mine

I marry your stereo system thumping acid rock

I marry socks, underwear, and shirts you cannot sort

I marry your slow-cooked pork with sauerkraut

I marry your tears when Uncle Buddy died

I marry your voice, its music of short vowels

I marry the twenty-odd years you have stacked your

    socks, underwear and shirts in the closet next to mine.

How does this format dictate how you write? What kind of emphasis is there, and how does that deepen mood?

Now take the same idea and rewrite it as a haiku (or other short form). Notice the changes in mood.

Moods in Poetry: A Guidebook for Writers (Mammoth, 2017). Denise Low is former Ks. Poet Laureate, professor, and author. www.deniselow.net

LEDGER ART LINKS for HISTORIC AND CONTEMPORARY ARTISTS

I became interested in the genre known as Plains Indian ledger art after viewing the Black Horse ledger at the Newberry Library in Chicago, in the 1990s. Becca Gerkin has an excellen article about the palimpsests of this ledger. It was my introduction to this genre. Ross Frank defines it as:

A transitional form of Plains Indian artistry corresponding to the forced reduction of Plains tribes to government reservations, roughly between 1860 and 1900. Due to the destruction of the buffalo herds and other game animals of the Great Plains by Anglo-Americans during and after the Civil War, painting on buffalo hide gave way to works on paper, muslin, canvas… .”

This is a primary narrative genre that is a graphic, literary, and authentic Native expression. I researched ledger art for classroom use at Haskell Indian Nations University, where I taught 25 years, and I continue to find it an Indigenous literary form that informs the present as it sustains cultural identities of recent and distant histories. It challenges and complicates European traditions of literature. 

Here are some links from my presentation at Native American Literature Symposium.

“Black Horse Ledger: Digital Collection for the Classroom.” The Newberry Library. https://dcc.newberry.org/items/black_horse_ledger

“Fort Robinson Breakout” Chief Dull Knife College. YouTube. Aug. 30, 2012.

http://www.youtube.com/watch?v=xAQ21z6dR0U&feature=player_embedded#!  

Keyser, James D. The Five Crows Ledger: Biographic Warrior Art of the Flathead Indians. University of Utah Press, 2000.

Lindsay, Stacy. “Behind the Scenes of Moonrise Kingdom.” Remodelists.com. https://www.remodelista.com/posts/behind-the-scenes-moonrise-kingdom/

Low, Denise. “Composite Indigenous Genres: Cheyenne Ledger Art as Literature.” Studies in American Indian Literature, vol. 18.2 (Summer 2006). https://www.jstor.org/stable/20737318?seq=1#page_scan_tab_contents

Low, Denise and Ramon Powers. “Northern Cheyenne Warrior Ledger Art: Captivity Narratives of Northern Cheyenne Prisoners in 1879 Dodge City.” Kansas History, vol. 35.1 (Spring 2012). https://www.kshs.org/p/kansas-history-spring-2012/17675

“Plains Indian Ledger Art.” Plainsledgerart.org https://plainsledgerart.org/

National Museum of American History. “Keeping History: Plains Indian Ledger Drawing. Smithsonian Institution.

http://americanhistory.si.edu/documentsgallery/exhibitions/ledger_drawing_1.html

Rose, Christina “Native History: Descendant Tells Father’s Story of Fort Robinson Escape Survivor Tells” Indian Country Today. Jan. 22, 2014. https://newsmaven.io/indiancountrytoday/archive/native-history-descendant-tells-father-s-story-of-fort-robinson-escape-fI-OF2p94EqL2Am-_iGZYw/

Round, Philip H. “Bullet in a Bible.” Repatriation Files: Blog. http://www.the-repatriation-files.org/?p=102

“Touching Coup.” Skinner Auctions. https://www.skinnerinc.com/search?s=Ledger+art .

Lorraine Jessepe, “Homecoming: Contemporary Artist Chris Pappan Redefines Plains Indian Ledger Art,” Indian Country Today, Oct. 30, 2011, https://newsmaven.io/indiancountrytoday/archive/homecoming-contemporary-artist-chris-pappan-redefines-plains-indian-ledger-art-mtintQHpHkedLDHl7ejGYA/ Examples of Pappan’s works are online at the Spencer Museum of Art “Heartland Reverberations,” an exhibition presented by the Spencer Museum of Art https://spencerart.ku.edu/exhibitions/heartland-reverberations .

“Southern Cheyenne Art: George Levi,”Artistsites.org, accessed Oct. 3, 2018. http://artistsites.org/1Cheyenne/index.php/ .

Levi, George. Buffalo-Check-George Levi, “Original Ledger Art,” Plains Indian Ledger Art, accessed Oct. 4, 2018. The drawing is 3^1/8 inches by 8^3/8 inches. https://plainsledgerart.org/products/view/616 .

Levi, George. Cheyenne Buffalo Hunt-George Levi, “Original Ledger Art,” Plains Indian Ledger Art, accessed Oct. 4, 2018. The drawing is 13 inches by 8^1/2 inches.https://plainsledgerart.org/products/view/604.

Buffalo Spirit, Alaina, Tell Them We are Going Home, Facebook Aug. 26, 2018. Accessed Oct. 4, 2018. https://www.facebook.com/photo.php?fbid=2281164841924784&set=pcb.2281165151924753&type=3&theater . See a reproduction in this volume. Her biographical information is on the Department of Interior’s Indian Arts and Crafts Board page, “Alaina Buffalo Spirit, DIO.gov, October 26 - December 5, 2008, accessed Oct. 4, 2018. https://www.doi.gov/iacb/alaina-buffalo-spirit .

 Buffalo Spirit, Alaina,” Blogspot.com, Sept. 23, 2011, accessed Oct. 4, 2018. http://alainabuffalospirit.blogspot.com/ . The image is on Flickr, https://flic.kr/p/apNLWK .

            More of her art is on view, including Fort Robinson Survivors, in “This Is Art After All,” a TEDxBillings, YouTube.Com, Feb. 10, 2015. Accessed Oct. 4, 2018. https://youtu.be/HImpYztkwoo .

Denise Low Posts: William Stafford continues to inspire

Last Saturday of Jan. we celebrated the birthday of William Stafford, born in 1914 (the Sat. closest to his birthday was snowed out). The meeting room of the Watkins History Museum was filled for over 3 hours as people read his poems, reminisced, and read poems inspired by Stafford. Thanks to Ronda Miller for organizing this, the Kansas Authors Club, and the museum staff. Here are my remarks as I continue to think about this important man from western Kansas:

How I Use William Stafford’s Writing as a Model by Denise Low (c. 2019)

This title is false. I use William Stafford’s life as a model for living, and writing is an aspect of his influence. I met him often enough when I was beginning to write that I imprinted on him as a mentor. When I was co-editingCottonwood Review in the 1970s (with Mike Smetzer),  we corresponded with him regarding publication of a suite of poems. He came through Lawrence not long after, so then I met him in person. We had rejected a few of his poems—and I had been surprised to see some less good work from him. I worried he might have taken offense, but he opened his reading with the humble, “Editors are our friends. They help us publish the best work.” So I learned his generosity of spirit.

In 1990 when editing Kansas Poems of William Stafford, we corresponded and exchanged some phone calls. He was ever considerate. He was born the year before my father and within a few miles. He had the same dialect, in which he expressed similar dry humor and stern work ethic. I took him as a poetry father. Familiar were his models of submerged ego, moral sense of community responsibility, and aesthetic appreciation for nature. Once I read about an educational analysis of the most effective teaching techniques. The conclusion was that it didn’t matter what pedagogy a teacher used, but the students learned the most from passionate teachers. We remember not exact geography lessons from fourth grade, but more, we remember the presence of that teacher. Stafford is memorable as a passionate poet and my guide.

Stafford’s lessons are with me every time I read his poetry. The most important thing is that a poem is a living entity. It has a continuous existence within the webwork of language, where it enters the stream of literary tradition, in however humble or lofty a position. Joseph Harrington has written a book about newspaper poetry of the 19^th century, a subgenre of the tradition and valuable in its own way. With print, electronic, and oral archives, poems continue to exist in a communal cache of language. 

A living poem needs to be an ember that has shape, texture, color,  smell, and heat (or cold). It pares down all extraneous “function” words like articles, prepositions. Too many adjectives and adverbs also slow down a poem, as well as repetitions. Most of all, a living poem is fresh, without cliché of language or thought. To be memorable poems within that literary fabric, the verbs need to ignite an immediacy.  This is Stafford’s genius.

     

  Treating a poem as a living entity also defines its shape—the sonnet-like lyric is Stafford’s best métier, and perhaps mine as well. It is brief enough to sustain a poem’s flame yet long enough to spin out a brief story and resolution.

And the most important thing: the living poem has electricity when its surprise is revealed. This is the turn or verso or koan-like moment. In “Traveling Through the Dark” it is the place where the narrator reveals a live fawn is within the belling of the dead deer, and Stafford pauses the poem, “I hesitated.” This is unexpected, and the lack of action speaks more than the final lines when he pushes the doe “into the river.” In this hesitation, the real action occurs—moral reflection on mortality and machinery’s toll on nature. This is at the end of the third stanza (of five), and the sentence ends with an emphatic full stop and stanza break. That twist is where readers join the poet in an eternal moment of discovery.

   

 I have thought about Stafford’s legacy for five decades. Other poets also write about nature, social activism, the Great Plains culture, and history. Stafford uniquely creates an eternal present in his works through skillful manipulation of verb tenses and stories. Each of his poems, implicitly or explicitly, shows awareness of the living nature of poetry.

Denise Low's Poetry Workshop Online or in KC Is Enrolling

Advanced Poetry Workshop with Denise Low, Online or KC area, Jan.  22-Mar. 12. Drop-ins welcome.

Master Poets as Models Study of individual poets who have had an influence on the American tradition, especially those who write prose poems, experimental work, inspiring work. We will take apart poems and see what makes them work. I remember my brother disassembling wristwatches and exposing all the tiny springs and gears. This course will do the same with poems. To join, email kansaspoetry[at]gmail.com

• William Stafford (he can write about 2, 3, and 4 timeframes in a single poem)
• Charles Simic, prose poems, with a look at Rimbaud’s Season in Hell
• Ronald Johnson (erasure inventer, ultra-compression)
• Francis Ponge, “poet of things,” who included his process with his poems https://www.poetryfoundation.org/poets/francis-ponge
• Hadara Bar Nadav’s inversions of points of view
• Other topics/poets: Talk poetry of Tommy Pico

I’ll work with Poetry Foundation samples of poems mostly, so no need to buy books. The course includes weekly course materials, online editing of 2 poems a week, plus: In person: workshop meeting, access to online/in-person print materials, and OPTIONAL online editing of 2 poems before the class meeting (48 hrs. ahead of the meeting time). We meet 6-8pm:  Jan. 29, Feb. 5, Feb. 12, Feb. 26, Mar. 5, March 12. Meetings are in the Johnson Co. Central Resource Library, Study Room 9 (Jan. 22) and Study Room 10 (all meetings after Jan. 22). We have the room reserved starting at 5:45 pm for informal chatting. Regular workshop participants who miss a meeting may access online materials and participate in online editing/chat rooms. Online option only, review of the session’s portfolio at the end (editing and suggestions for publication of 10 revised poems from the course). Terms are $30@ or 6 for $150, payable through PayPal, Google Wallet, or Square (credit cards): mammothpubs[at]gmail.com. Cash or checks (made out to Mammoth Publications) work also.

Denise Low responds to Death of the Book Review & an article by Sam Eichner

 My long-time friend Fred Whitehead sent me a link to an article that suggests, by its end, 

that both the literary and the journalistic book review forms are dead--or at least greatly altered. Sam Eichner begins his argument in "What's Behind a Recent Rise in Books Coverage" by chronicling the increasing coverage of books in news media, but not through increased book reviews. First, he notes how major news outlets are adding to book articles: “Since the beginning of 2017, The New York Times has continued to expand its already robust book coverage. More recently, New York announced that it would triple its book coverage. In October, The Atlantic launched a Books section and a newsletter.” Eichner adds that BuzzFeed has a new online book club and Facebook group. However, all book news competes with a cacophony of online pop-up ads, video clips, and social media. Books continue to have, nonetheless, qualities like no other medium, even if readers do not have more time. He quotes the NYT book review editor Pamela Paul, who lists virtues of the book: they give historical perspectives, longer-range perspectives, and analysis of all the flotsam of news fragments. Eichner refers to these virtues as he ends his article with a rally to continue to support books: “. . . it may be more important than ever for publications to help books accomplish these goals," but his means to this end is to join the production of bits and bytes: "But the best format for them to do so is likely no longer the traditional, single-book, literary review. To break through the noise, editors must translate old-fashioned book coverage to the lingua francas of today’s impossibly paced media climate: shareable lists, essays, digestible Q&As, podcasts, scannable email newsletters, hashtags, Instagrams, even book trailers.” Oh my, brave new world. The entire article is worth a read. Whether we like it or not, the book review has morphed into a variety of book niblets.

What’s Behind a Recent Rise in Books Coverage? By Sam Eichner Columbia Journalism Review, Dec. 3, 2018.  

Sam Eichner is a writer based in New York, whose work has been published in The Daily Beast, Electric Literature, and The Huffington Post. You can follow him on Twitter @seike17.

Steve Bunch Shares Allen Ginsburg, Ed Dorn, Other Lawrence Literary History

Here are Steve Bunch's Lawrence literary memories of the Rock Chalk Cafe, which served Ed Dorn, the Fugs, Allen Ginsberg, many other literati over the years. It begins:

Steve Bunch

"Edward Dorn's poem "The Cosmology of Finding Your Spot" celebrated the Rock Chalk and its denizens (http://www.vlib.us/beats/dorn.html ) and was published (typos and all) as a broadside in connection with a reading in support of the Draft Resisters League in 1969. The reading occurred just across the street from the Rock Chalk, at the United Campus Christian Fellowship building. As I recall, Robert Bly also read that evening. Robert Creeley, Robert Duncan, Galway Kinnell, and Diane Wakoski also came through Lawrence that spring."

I remember the reading at the UCC, and how suave Dorn was, how cooly activist. His wife Jennifer Dorn was with him, also a respected poet, and she impressed me. Do I remember what he read? Yes--parts of Gunslinger he was working on at the time. He made me think differently about history of the West, my home region. It was a long way from Gunsmoke and Palladin, although there were some of the same characters. He had a grasp of the history that informed his discussion as well of the poets, and I admired that. Here is a review from the Guardian by Patrick McGuinnis of Gunslinger, and it begins:

"Gunslinger is perhaps the strangest long poem of the last half-century: a quest myth wrapped around an acid-inspired western comic strip adventure in which a gunslinger, astride a drug-taking, talking horse called Levi-Strauss, searches for Howard Hughes ("they say he moved to Vegas / or bought Vegas and / moved it. / I can't remember which"). Charles Olson had insisted, in the wake of Pound, that where Europe had history to make poetry with, America must take geography. Dorn's contribution to the Great American Long Poem – Pound's Cantos, WC Williams's Paterson, Olson's Maximus … – was Gunslinger, which appeared in five sections over six years. The American west was Dorn's imaginative home, and his poem is an extraordinary feat of imagination, humour, allusion and lyric invention. It takes the standard fare of a good if surreal western (brothel madams, saloon brawls and gunfights) and melds it with high philosophical riffs."

Denise Low Reviews Maryfrances Wagner's THE IMMIGRANTS' NEW CAMERA

Maryfrances Wagner’s collection The Immigrants’ New Camera: A Family Collection has a

glossary of Italian words in the back, a useful addition as she writes her family’s immigrant experiences and afterlife in Kansas City neighborhoods. The poet tells wonderful stories in this book, compressed into poems and amplified with poetic intensities. Always the phrases give both narrative and mood, as in this poem about her aunt:

I Bring Aunt Mary a Christmas Tree

Oh, what a good Italian woman you are.

You’ve baked biscotti and iced them nice,

pink and green just like I love. And they

taste just like your Aunt Rosie’s. I wear

that lap quilt you made me to dinner.

I’m afraid someone might take it, though.

I can’t believe all of the stuff you bring.

I loved the pizza and the pizzelle,

but I don’t have anywhere to put

those family pictures. You can take those

home. I don’t recognize some of them.

What’s that behind your back? A little tree?

You call that a Christmas tree?

It’s nice that you put blinky lights on it

and decorated it with reindeer and candy canes,

but it’s not more than a foot tall! Troppo piccolo.

Uncle Johnny brought home big trees.

Sometimes we had to cut the tops off.

I used to put tinsel and ornaments on the tree.

They were big and beautiful. Ask Jimmy.

This hotel is too small. I’ll be glad when we

go home. These pigra maids take forever when I ring.

Uffa! What’s that? A crystal star? Too many lights.

Shut that thing off before I quit breathing, and don’t

hang that mistletoe in the doorway. I don’t want

some old coot in a wheelchair grabbing me

on the way to dinner. We’ve got enough

Wagner’s use of dramatic monologue works well here, deftly wrought so the narrator’s presence is just a whisper in the background. The forte voice of the aunt carries the poem, as she voices her judgements. Along the way, details of life in a nursing home create another thread in this dense poem. Wagner balances lyric with narrative perfectly.

                No poem in this collection is simple. The stories may appear to be about making wine in the garage or school memories. The overlays of language, however, as well as the implied emotions complicate any topic.

One of my favorite poems is one where Wagner describes miscellanea left in her father’s drawers after his death. The catalogue elaborates more about grief and character than the objects. The poem “My Father’s Nightstand” begins:

I empty the dead drawers

and sort what my father kept close:

Chapstick, shoestring, book of stamps.

Flashlight, two keys, Allen wrench.

The orphaned keys, the wrench, and the flashlight all suggest mortality, the final law.

                Wagner collections family stories from all her previous collections in this new book. They interact with each other, so repeated characters, like Zia Rosie and Nonno, develop into full-fleshed companions. Most of the people in the book are dead, so there is an eerie quality of ghost stories also in this interesting and complex book.

History of Italians in the United States often overlooks the Midwest. This book helps to expand the cultural nuances of this region. The family members, however, are familiar archetypal characters that all can relate to. This book is enjoyable on the page, and Wagner will present readings of it in the Kansas City area, not to be missed.

Dec 6, book release party at Westport Coffeehouse, KC, 41010 Pennsylvania St., KC, MO, 7 pm. At 8:00 will be a short reading, and Robert Stewart, Jenny Molberg, and Cameron Morse will be present. Enter through the Green Room or come downstairs through the coffeehouse. If you can't stay the whole time, at least drop by.

The Immigrants’ New Camera: A Family Collection by Maryfrances Wagner, 174 pp., Spartan Press, 2018, $15.00. https://www.barnesandnoble.com/w/the-immigrants-new-camera-maryfrances-wagner/1129786690?ean=9781946642707

Denise Low Reviews Lechliter's Photos of Ghosts: Poems

 At the beginning of this month, Gary Lechliter organized a where he debuted a new collection, Photos of Ghosts: Poems (Spartan Press). It is superb. I have followed Lechliter’s work for decades now, and he carves deeper shadows and higher reliefs. One of his classics is about his brother’s funeral, “The First Born,” where he wonders at their abiding differences despite an almost identical upbringing: “We lived in the same small clapboard house, / ate the same food, pissed in the same toilet, / bathed in the same old claw-foot tub” (p. 6).  After a catalogue of fraternal connections, he ponders the differences, “Maybe it was the religion you clung to, / that hard faith I walked away from.” He lifts the poem from the biographical into a larger sphere when he further iterates the differences between the narrator’s doubt and the brother’s belief. The poem ends: “Earth is fixed, it seems likely that I’ll / see you soon, perhaps in some plausible / heaven for the faithful and yes, the / agnostic, the Jew, the Buddhist, and / Muslim, the gay or straight.”

                Lechliter grew up in southeast Kansas, not far from my own hometown. He writes about the places I knew and in that language, as in this unsentimental nature poem “Horsefly”

Horsefly

                                On wrongs swift vengeance waits. Alexander Pope

The fucker I smacked and left to die,

belly up on the ground, waits for

the labor of ants to carry it off.

It’s not unlike the one that blooded

me as I played in my grandmother’s

garden hose on a summer day.

That one made off with boy flesh.

And all I could do was weep and howl,

which brought my father out to the

lawn, where he chased it with the

newspaper’s help wanted ads,

but could not smack the villain.

So now I must call this menace

I’ve flattened an icon of vengeance

and leave it in the mulch, where

the widow and fatherless grubs

will come to honor the knowledge

that only fools linger.      (p. 7)

The Alexander Pope epigraph helps to set up a tradition and also to contrast to it, as the opening “The fucker” makes it clear this is not a sanitized or nostalgic experience. Sarah Smarsh’s memoir Heartland is redefining the way outsiders see rural folk, and this poet gives testimony to a complex, vivid site where human dramas match the extremes of weather. This is a wise book, for readers from any place.

Denise Low reviews Pat Daneman's "After All," on widowhood, women, mythos.

Pat Daneman is one of my favorite poets, probably not well known outside a devoted circle of to 

family and Kansas City friends (I am one of these), in part because she publishes her first book this year. Buy it, especially if you are a person over 50 or a person who has lost a family member or if you are a woman. That should cover just about everyone. Her writing concerns, often but not always, her loss of a spouse. This is not the only theme, but it makes the book essential reading. Take this poem, which could refer to night jitters in general or specifically to grief:

Night Knitting by Pat Daneman

Always good to have a row cast on—the night will come

when I’ll need the reassurance of brown or purple wool,

needles’ industry between sleeplessness and the immensity

of the world asleep. Even if snow is knitting its own caps and capes,

even if wind is undoing every knot,

I will have a pool of lamplight,

the back of a soft chair like an arm around my shoulders.

As I sit wishing for someone to talk to,

I will have the small stitches to count,

The clack-of-bone conversation, the thing—

what is it?—

falling from my hands.     c. 2018 Pat Daneman

Daneman understands the cadence of long lines, their internal sounds and patterns, like waves. She uses a conversational mode that invites readers into her narratives. This poem drops the “It is” that would make the first line grammatically complete. So the monologue begins as though the reader were present, almost as real as the missing partner. The music made by “reassurance,” “industry” “sleeplessness,” “immensity,” and “asleep” in the opening stanzas make this poetry, not prose. Then the wonderful fabulation of snow knitting forms parallels the narrator’s wool creation. Daneman is not done. In the third stanza, the poem turns into a seance, raising the specter of the dead man, whose arm is no longer around her, and whose conversation now is “clack-of-bone” rather than words. The final thrum in the poem is the passage of time, with snow “caps and capes” being undone and the indeterminate “what is it?—” that passes through her hands. This poem offers kindly advice—how to survive the insomniac nights—and it grieves not just a personal loss, but the nature of loss itself.  “Living in the Marriage Museum” is another tour de force, about the leftover contents of drawers and cupboards after a death.

                These poems help me find ways to think about loss. “To Anne Sexton” and “The Women in the Kitchen” are poems that parse women’s experiences elegantly. All the poems are small myths that populate a familiar cosmos. Each has a place. Each is necessary. Many hundreds of books of poetry are published each month by industry giants and by indie authors. Trust me. This is a high-quality, moving, book.

After All by Pat Daneman. FutureCycle Press 9781942371595 Print $15.95. Available on Kindle.  https://www.amazon.com/After-All-Pat-Daneman-ebook/dp/B07GMCZ99W/ref=sr_1_fkmr0_1?ie=UTF8&qid=1539295592&sr=8-1-fkmr0&keywords=%22Pat+daneman%22

PAT DANEMAN is a freelance writer and editor.  Her recent poetry appears in the anthologies New Poetry from the Midwest and Kansas Time+Place, and the journals Moon City Review, Stonecoast Review, Comstock Review and Bellevue Literary Review.   Her chapbook, Where the World Begins, was published in 2015 by Finishing Line Press.

c. 2018 Denise Low, review. Please request permission for reprint and give acknowledgement.

NATALIE DIAZ (Mojave) WINS MACARTHUR FOUNDATION FELLOWSHIP!!

John D. and Catherine T. MacArthur Foundation fellowships, unofficially known as “genius” grants, recognize “exceptional creativity” and come with awards of $625,000 each, distributed over five years.

Natalie Diaz draws on her experience as a Mojave American and Latina to challenge the

mythological and cultural touchstones underlying American society.

About Natalie's Work Natalie Diaz is a poet blending personal, political, and cultural references in works that challenge the systems of belief underlying contemporary American culture. She connects her own experiences as a Mojave American and Latina woman to widely recognized cultural and mythological touchstones, creating a personal mythology that viscerally conveys the oppression and violence that continue to afflict Indigenous Americans in a variety of forms.

In her first collection, When My Brother Was an Aztec (2012), Diaz reflects on her brother’s drug addiction, drawing upon Mojave, Greek, and Christian symbols to describe his destructive behavior and its effect on her family. Her brother is alternately a charismatic Icarus persuading his parents to let him come home again, the figure of Judas betraying his family, and most hauntingly, an Aztec god who devours his parents every morning. In “My Brother at 3 A.M.,” addiction is personified as the Devil, seen by her brother in his hallucinatory state and then by her mother as she recognizes her son’s brutal and desperate condition. Other poems in the collection focus on Diaz’s childhood on a reservation.  “Hand-Me-Down Halloween” is an angry eruption of language that ensues in the wake of the speaker being taunted by a white boy for wearing a secondhand Tonto costume. She takes a more satirical and wry approach in “The Last Mojave Indian Barbie,” folding a biting critique of economic inequality, stereotyping, appropriation, body-image issues, and consumer culture into a series of tableaux centering around a Barbie of Mojave identity trying to fit into a standard Barbie universe.

Diaz ends the book with poems about an unnamed beloved, and in more recent poems she has continued to explore expressions of Indigenous love in nature, family, and community. Other recent poems, such as “American Arithmetic”—about police violence against Native Americans—and “The First Water Is the Body”—written in honor of the Standing Rock protesters and her own Mojave people—engage directly with the bodily oppression of Indigenous Americans and the urgency of survival. Diaz is a powerful new poetic voice, and she is broadening the venues for and reach of Indigenous perspectives through her teaching, cross-disciplinary collaborations, and language preservation efforts.

Biography Natalie Diaz received a B.A. (2000) and M.F.A. (2006) from Old Dominion University. She is Mojave and an enrolled member of the Gila River Indian Tribe. Diaz’s poems and essays have appeared in such publications as Narrative Magazine, Guernica, Poetry Magazine, the New Republic, Tin House, and Prairie Schooner, among others, and she is an associate professor in the Department of English at Arizona State University.

Website: Arizona State University: Natalie Diaz 

Short video: https://www.macfound.org/fellows/1007/

Poems: https://www.poetryfoundation.org/poets/natalie-diaz

Source: MacArthur Fellows Program