Wednesday, November 14, 2012

Which leaves us helpless helpless helpless helpless


Tupelo is going to publish manuscripts from Harold Schweizer and Annie Guthrie, from out of their open reading period.  That’s good, I’m sure, but what I’m interested in is the length of the lists for Honorable Mention and Other Remarkable Work.  There are a LOT of manuscripts out there.  I just thought I should repost this list.  We’re living in a very crowded room, people.  “The chains are locked and tied across my door,” as Neil Young would say it.  Here's the electric version:
 
 
Honorable Mentions:
  

Seth Abramson, Madison, Wisconsin, Thievery

 

Desirée Alvarez, New York, New York, Enchanted Ground

 

Geoffrey Babbitt, Geneva, New York, Appendices Pulled from a Study on Light

 

Hadara Bar-Nadav, Kansas City, Missouri, Lullaby (with Exit Sign)

 

Margo Berdeshevsky, Paris, France, The Breaking Book

 

Deb Casey, Eugene, Oregon, Mothertongue 

 

Victoria Chang, Rossmoor, California, Dear P. and The Boss

 

Gary Hawkins, Black Mountain, North Carolina, Worker

 

Paul Hoover, Mill Valley, California, Gravity's Children / The Windows

 

Luisa A. Igloria, Norfolk, Virginia, Ode to the Heart Smaller than a Pencil Eraser

 

Diane Kirsten Martin, San Francisco, California, Hue and Cry

 

Juliet Rodeman, Colombia, Missouri, The Voice Of That Singing

 

Broc Rossell, Denver, Colorado, Cark

 

Martha Silano, Seattle, Washington, House of Mystery

 

Peter Strekfus, Northport, Alabama, Errings

 

Eliot Khalil Wilson, Golden, Colorado, This Island of Dogs

 

Sam Witt, Framingham, Massachusetts, Little Doomesday Books

 

Theodore Worozbyt, Covington, Georgia, Echo's Recipe

 

Gail Wronsky, Topanga, California, The World in Reverse

 

Other Remarkable Work:
  

Angela Ball, Hattiesburg, Mississippi, A Report on the Party and the Guests

 

Mary Buchinger, Cambridge, Massachusetts, my heart, and all the fields --

 

John De Stefano, New York, New York, Critical Opalescence and the Blueness of the Sky and Three-Body Problems

 

Marlon Fick, Wenzhou, China, The Tenderness and the Wood

 

Harry Griswald, San Diego, California, Under the Piano

 

Jessica Harman, Arlington, Massachusetts, Overflowing Inner Beauty TV

 

Judith Harris, Washington, D.C., Night Garden

 

George Kalamaras, Fort Wayne, Indiana, We Wore Monk Hair

 

Janet Kaplan, Brooklyn, New York, Chronicles

 

Jesse Lee Kercheval, Madison, Wisconsin, Extrajera / Stranger

 

George Looney, Erie, Pennsylvania, The Indefinite Clarity of Sky: Poems of Kinsale

 

Jacquelyn Malone, Lowell, Massachusetts, The Sedimentary Layer

 

Sawnie Morris, Ranchos de Taos, New Mexico, Her Infinite

 

Addie Palin, Chicago, Illinois, The Cautery

 

Linda Tomol Pennisi, Syracuse, New York, Miniscule Boxes in the Bird's Bright Throat

 

Maud Poole, New York, New York, Purse Pistol

 

Carol Potter, Corinth, Vermont, DNA

 

Jendi Reiter, Northampton, Massachusetts, Bullies in Love

 

David Roderick, Greensboro, North Carolina, The Americans

 

Susan Roney-O'Brien, Princeton, Massachusetts, Thira

 

Helen Klein Ross, New York, New York, Because of Them

 

Dennis Schmitz, Sacramento, California, Intimacy

 

Tina Schumann, Seattle, Washington, Praising the Paradox

 

Gail Segal, New York, New York, Fault Lines

 

Peter Shippy, Jamaica Plain, Massachusetts, this theatre of honey and faded roses

 

Katherine Soniat, Asheville, North Carolina, A Fan of Bees

 

Page Hill Starzinger, New York, New York, Vestigial

 

John Surowiecki, Amston, Connecticut, Significant Others

 

Joyce Sutphen, Chaska, Minnesota, Sleight of Hand

 

Brian Swan, New York, New York, World's Shadow

 

Molly Tenenbaum, Seattle, Washington, Umbilical Travels

 

Christian C. Thompson, Broomall, Pennsylvania, Low Growth

 

Daneen Wardrop, Kalamazoo, Michigan, Cyclorama

 

William Wenthe, Lubbock, Texas, God's Foolishness

 

 


15 comments:

  1. so why don't you tupe lows publish them all?

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  2. Brian Swan . . . any relation to Brian Swann?

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  3. The extra n is for No.

    In other news, I recognize exactly 0 of those names.

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  4. On a second scanning, I did pick out two names.

    Also, I hope Molly Tenebaum writes Wes Anderson-esque poems.

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  5. I recognized about 15, I think. I didn't count.

    Anon, Tupelo can't afford to publish them all, as poetry barely breaks even. But your point is taken. I feel that same way when a journal rejects someone's work with a note saying how much they enjoyed the poems. I mean, if you enjoyed the poems, why did you reject them? You know?

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  6. That happened to me the last time I submitted. Bateau sent me a handwritten note saying they really enjoyed my poems, but didn't want to publish them.

    Still not quite sure what to make of it.

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  7. Fuzz (and John), it can mean several things. It can mean "We enjoyed your poems...but not quite enough," or "We enjoyed your poems...but frankly we enjoyed other work more." It can mean "We really enjoyed your poems...but we're overstocked and have no space for them in our journal right now." And it can mean "I really enjoyed your poems, personally, but some other people on the editorial board didn't, sorry."

    I've used it in all of these ways.

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  8. Also, some of these manuscripts have already been picked up by other presses. Starzinger's just won the Barrow Street prize, and Abramson's won the Akron prize. Chang has signed at least one of hers too.

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  9. GC,

    That sounds reasonable. Kind of like the "can't we just be friends" argument when you don't want to date someone.

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  10. Starzinger's book beat mine out for that Barrow St contest . . . which I never had a chance of winning anyway . . . :

    http://knottpoetryblog.blogspot.com/2012/10/loser.html

    ... so eventually the good books find publishers, and the bad ones like mine don't.

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  11. BK, if you were convinced you "never had a chance of winning anyway," why did you submit to the Barrow Street contest in the first place? I confess I'm curious.

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  12. Anon, my pathetic answer:

    the same reason the hundreds of others who knew they didn't have a chance and yet paid their money entrance fee to enter this contest:

    as an incentive to focus one's efforts . . . as a motivational tool.

    If that's not a good enough reason, Anon, I'm sorry. I sent the book out in June to 3 other contests also, and didn't win those either (nor make it onto the runners-up list) . . .

    But what's your point, Anon—— are you saying that I shouldn't have wasted my time and money, that I should just accept the fact that no publisher will publish my books, that no magazine will publish my poems, and therefore I should stop trying, stop altogether, stop writing? . . .


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  13. though i shouldn't assume that others' reasons for entering these book contest were the same as mine; forgive me for claiming to know what their motives were . . .

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  14. Speaking of Neil Young, have you read that new book by him, John? I saw some cool excerpts from it in Rolling Stone. Was wondering what you think of it.

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  15. I haven't. I will at some point, I'm sure, though. I've heard some people like it and some others REALLY dislike it. But NY's always kind of been that way.

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