A new essay by faculty member Marianne Boruch is published in December’s print and online publication of Poetry:

Melodrama

Which may get a bad rap. My son tells me something I never knew before. It’s a musical term. It means opera, first of all: a story set to music, a drama carried bymelo, song. Mom, don’t get your knickers in a twist over this again, he implies as I hold the landline receiver close to my ear.

Long distance, we used to say about such phone calls. I imagine him singing the get over it I hear in his tone, maybe his regular voice or as joke-falsetto where inflation has a rightful place, our once mock-doing La bohème in the kitchen, staging the simplest request in D-minor:

Oh please please! Take out the compost!

Okay okay! I see it overfloweth!

But — seriously? It’s just that melodrama has always worried me. What about the standard bad stuff always about to happen in opera, I argue, the raised hands as exclamation points, the collective choral shriek of onlookers, the hit-the-lights plunge into dark after the shiny knife goes down? Be fair, my son says. Then it could be we’re both thinking of those subtle duets, gradual and intricate, how they tear your heart, ending abruptly before you expect: La bohème’s Mimì wrapped in Rodolfo’s arms,The Consul’s Magda mournfully interrupting her husband John, or the tomb-with-a-view finale — as my brother calls it — between Aida and Radamès, all the lush, various stops and starts from Puccini, Menotti, Verdi. And big, this tangle, always so earnest, such grand charged dignity to whatever ordinary or outrageous shard of word or deed, a grave eternal eye on whatever mess we made — or will make. In the body, the very sound exhausts and thrills.

Finish reading online at Poetry.

New work by faculty members C. Dale Young, Debra Allbery, and Charles Baxter appear in the Winter 2014 Issue of The Kenyon Review.

Young’s poem “Wrestling with the Angel” is published online:

—after Léon Bonnat

First off, the wings were too perfect.
Second, that the angel is both pushing the man
with his left hand while embracing him with his right,
the angel’s right leg stretching away from the man while
the left one is anchored and wrapped between

Read more

ellenbryantvoigtA new interview with faculty member Ellen Bryant Voigt, “discussing her new collection and the poetic process behind it,” appears online at The Rumpus:

The Rumpus: This is your first poetry book after your collected poems, surely a moment of self-reckoning. And yet, Headwaters: the source of a river, the flow of a mind—the poems are so fresh and unleashed. What surprised you most when you started writing them?

Ellen Bryant Voigt: I think their tolerance of a certain kind of excess, particularly their double-stitching, that amount of direct repetition. It’s borne, perhaps, from recognition of impermanence, rather the opposite of chiseling a poem into stone—and unlike the chisel, it allows faster, multiple shifts of tone, redirections, mid-course corrections. Read more

A new piece by faculty member Dominic Smith, entitled “Where is all the Fiction in Space?”, appears online at The Millions:

As NASA readies its next Mars launch for today, we’re getting used to the idea of entertainment in space. Recently, Chris Hadfield, a Canadian astronaut, shot a music video of David Bowie’s“Space Oddity” onboard the International Space Station and it quickly went viral. It’s had about 19 million views on YouTube — about the population of Canada. And then Lady Gaga announced that she’ll be shuttling into space to perform a single track in 2015 as part of Zero G Colony music festival. But where’s all the literature in space? Actually, it turns out poetry is fairly well represented and there’s more on the way come Monday. But it’s pretty much a fiction desert up there.

Read more

Mary Szybist 2

Faculty member Mary Szybist was awarded the 2013 National Book Award in poetry for her collection, Incarnadine, in an awards ceremony last night.

An interview with Szybist appears online at the NBA website here.

A reading by all 2013 NBA finalists can be found here. Szybist’s reading begins at the 2-hour mark (2:00).

Read five poems from Incarnadine on the Graywolf website.

A webcast of the awards ceremony is available here. The announcement is made at the 2-hour and four minute mark (2:04), with her acceptance speech immediately following.

Incarnadine cover

Szybist is the second WW MFA faculty member to win a National Book Award.  Andrea Barrett won it in 1996 for Ship Fever and Other Stories. Many faculty have been finalists for the National Book Awards, including Alan Shapiro for Night of the Republic in 2012, Ellen Bryant Voigt for Messenger in 2007 and for Shadow of Heaven in 2002, and Charles Baxter for The Feast of Love in 2000.

For more information on the National Book Award finalists and winners, go to www.nationalbook.org.

The prologue of a new novel by faculty member David Haynes is online at Four Way Review:

That Janet Williams hadn’t liked children all that much she blamed on the boy’s mother. Children annoyed her, frankly—all that incessant energy, the enthusiasm for obnoxious music and inedible food, their general and relentless neediness. When pressed, however, she would admit there was something special about this one, this Danny, her five-year-old grandson. On that day—that god-awful day—he’d mostly amused himself, trying out all of the chairs in the living room, plopping himself on the new loveseat and scootching his little bottom around, testing it for comfort, twisting his face around like a bad actor portraying a food critic. Goldilocks with nappy hair.

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Faculty member Gabrielle Calvocoressi will be a guest author at The Best American Poetry for the week of November 18-22, and then ongoing throughout the year. Her post “The Year I Didn’t Kill Myself” is found online:

My Life had stood – a Loaded Gun

The rule I made for myself most days was that I had to leave the house and smile at least three people that I didn’t know. I had to make eye contact and just say hello, which is to say even if I was shaking or had been throwing up from all the anxiety all day long I still needed to walk out on Claremont Blvd. and face the world.

This was the rule on weekends but also on weekdays after I’d get home from teaching at Stanford. I was doing great at Stanford. The students were fabulous, I was busy, I could make it through the day teaching my ass off and if I felt my heart start pounding I could breathe my way through it. I could get in my black Jetta and drive all the way home: over the Dumbarton bridge with its deep smell of algae, along the 880. By the time I’d get onto the 24 I might really be sweating or maybe crying a bit but it was okay, I could make it. I could get up the wide craftsman stairs and into my apartment and just make the bathroom before throwing up. I’d look up to see our sweet cat, Clemente, who had started to wait there for me to come home.

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An interview with faculty member Dean Bakopoulos is published in the “One Year In–Writing the Novel” blog at Ploughshares.

 

The new issue of Blackbird introduces six previously unpublished poems by former Warren Wilson faculty member Larry Levis, from The Darkening Trapeze: The Uncollected Poems of Larry Levis, forthcoming from Graywolf Press, 2015.

Elegy with a Darkening Trapeze Inside It

The idea turned out to be no more than a cart wheel
Stuck in mud, & unturned fields spreading to the horizon while
Two guys in a tavern went on drinking tsuica & recalling their one

Accomplishment in life—the seduction of a virgin on the blank
Pedestal of a statue where Stalin had once stood.

The State is an old man’s withered arm.

~

The only surviving son of Jesus Christ was Karl Marx.
You can tell by the last letter of his name,
Which has the shape & frail balance of an overturned cross

On a windswept hillside. It marked the end of things.
Of lumber that rots & falls. The czar is a shattered teacup,

The trouble with a good idea is that it has to work:

The only surviving son of Jesus Christ survives now
Mostly in English departments & untended graves.

One thing he said I still remember, a thing that’s never there
When I try to look it up, was: “Sex should be no more important . . .
Than a glass of water.” It sounded vaguely like the kind of thing

Christ might have said if Christ had a sense of humor.
The empty bar that someone was supposed to swing to him
Did not arrive, & so his outstretched flesh itself became

A darkening trapeze. The two other acrobats were thieves.

~

My colleague Otto Fick, who twenty years ago
Wrote brilliant lectures on the air, sometimes
Would pause & seem to consult notes left
On a podium, & then resume. A student once
Went up after class to look at them & found
Only a blank sheet of paper. Nothing there.
“In theory, I believe in Marx. In fact, my wife
Has to go in next week for another
Biopsy. Fact is disbelief. One day it swells up
In front of you, the sky, the sunlight on everything,

Traffic, kids on surfboards waiting for the next
Big set off San Onofre. It’s all still there . . . just
There for someone else, not for you.” This is what
My friend Otto told me as we drove to work.

~

I worked with men in vineyards once who were paid
In wages thin as water, cash that evaporated & rose like heat.
They lived in rows of makeshift sheds the owner hauled

Into an orchard too old to bother picking anymore,
And where, at dusk, a visible rushing hunger

Raced along the limbs of the trees surrounding them.
Their kids would watch it happen until a whole tree would seem
To vanish under it. There were so many of them.

By then the rats were flying over a sickening trapeze of leaves
And the tree would darken suddenly. It would look like brown water

Rushing silently & spreading everywhere

Before it got dark anyway & the kids went in.
“There was more rats in there than there was beads on all the rosaries of the dead.
We wen’ to confession all the time then ’cause we thought we might disappear

Under them trees. There was a bruja in the camp but we dint go to her no more.
She couldn’t predict nothing. And she’d always cry when you asked her questions,”

A woman said who had stayed there for a while.

Every revolution ends, or it begins, in memory:
Someone remembering her diminishment & pain, the way
Her scuffed shoes looked in the pale light,
How she inhaled steel filings in the grinding shed
For thirty years without complaining once about it,
How she might have done things differently. But didn’t.
How it is too late to change things now. How it isn’t.

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Two new poems, “All I Have is News” and “In the Heart of the Heart,” by faculty member and MFA Program Director Debra Allbery, appear online in Construction Magazine:

All I Have is News

              -my 9-year-old’s caption to one of his drawings

Dawn’s tea light through the etched
isinglass of the bus stop, Monday morning
the color of concrete. The newsstand

vendor lowers his face into the steam
of his coffee, while behind him a thin song
drifts like a wood scent, burned leaves,

from some past I can’t place.  Brittle
handbills on the kiosk rattling their warped
calendars, quick skiff of newsprint

down the street. I know that song

from somewhere, its tinned minor chords,
plainchant boxed in was, in lost—in
that other yesterday, as my child

used to say. His own past a brief
blurred mural behind him, his face
floating its descant into this white

sky’s steam and exhaust. Lie down,
he used to say, his motion halting mine,
lie down mama look at the clouds Read more