The Next Big Thing

So I need to give credit to both Eric McHenry and Tasha Haas, as they both asked me to do this. However, I do not feel like I could find/ask anyone new to do this. :)

http://tashahaas.com/the-next-big-thing/
http://oddevening.blogspot.com/2013/03/the-next-big-thing.html
http://travismacdonald.wordpress.com/2013/02/27/the-next-big-thing-graceries/
http://jenmariemacdonald.tumblr.com/post/44137796457/next-big-thing


*Ten Interview Questions for the Next Big Thing*
What is your working title of your book?
My Secret Wars of 1984

Where did the idea come from for the book?
From a poem I wrote, in which there was a space between 1983 and 1985. I realized 1984 is a pivotal, tumultuous year for me.

What genre does your book fall under?
Conceptual collage poetry

Which actors would you choose to play your characters in a movie rendition?
Me: Joshua Marie Wilkinson
My mother: Amy King
Lyn Hejinian: herself
bell hooks: herself
John Carlin: Joe Harrington
Ronald Reagan: Billy Collins

What is the one-sentence synopsis of your book?
In its entirety, My Secret Wars of 1984 is an alphabetized 366-sentence conceptual poetry-memoir collage, using texts from the year 1984 (Lyn Hejinian, Ronald Johnson, bell hooks, Marvel Comics, Dungeons & Dragons, President Reagan, etc.) with sentences of my own—within the context of political and personal struggles of that time (my mother coming out in the midst of living in a Catholic neighborhood, etc.).

Will your book be self-published or represented by an agency?
No.

How long did it take you to write the first draft of your manuscript?
366 sentences.

What other books would you compare this story to within your genre?
Any of the top ten of the New York Times Bestsellers List.

Who or what inspired you to write this book?
Joe Harrington, Lyn Hejinian, and Ronald Johnson.

What else about your book might pique the reader's interest?
The cover has artwork by a famous comic book artist.

Poetry Book Contests and Open Reading

Based on month each opens:

http://thelinebreak.wordpress.com/tag/the-song-cave/

January:
http://www.sarabandebooks.org/?page_id=1099
Sawtooth https://ahsahtapress.org/open-submissions/sawtooth-poetry-prize/
http://fourwaybooks.com/contest.php
http://www.mainstreetrag.com/PoBkCont.html

February
http://www.canarium.org/contact/
http://www.saturnaliabooks.org/
http://www.kent.edu/wick/competitions/first-book.cfm

April
http://www.uakron.edu/uapress/akron-poetry-prize/
http://www.losthorsepress.org/the-idaho-prize/
http://www.uiowapress.org/authors/iowa-prize.htm

May
Omnidawn First/Second Book
Ahsahta Press
1913 Press
Horse Less Press: Deadline May 31

June
Black Ocean
Les Figues Press
1913 Press
Brooklyn Arts Press
http://www.autumnhouse.org/contest-submissions/

July
BOA Editions
Subito Press
Factory Hollow Press
Tupelo Press


August
Red Hen Press: Deadline Aug 31
http://www.umass.edu/umpress/content/juniper-prizes

September
https://ohiostatepress.org/index.htm?/books/series%20pages/poetry.html

November
Omnidawn Open Contest
http://www.csuohio.edu/poetrycenter/contest/

New projects

I have almost completed Topeka cento. The first draft is done, but I'm hoping Tod Marshall will come through for me. He is the last major Topeka poet left.

Also, as of yesterday, I have Amy King's permission to use her book I Want to Make You Safe for my next project. I truly admire her work, both on and outside of the page. She and Ana are inspirations--which is why the next project is autobiographical. As I am reading her work around Topeka, maybe aloud even, it serves as a site for social change. Look at Amy's own work in these areas. Maybe this is the catalyst for the project?

It starts with mapping out Topeka, and mapping out the Table of Contents. I am coping things out of the book. I would love to get my hands on some Topeka maps outside of the web. Maybe there are maps that conentrate on the areas I want to write in?

Taco poems

Tortilla Jack's opened in 1982, just when I was going into Robinson Middle School. Comics & Fantasys [sp] was just down the way, so I escaped those bullies by running into Comics & Fantasys, turning to the pages of comic books for shelter and support. Afterwards, it was off to TJ's for a Dr. Pepper, a taco, and nachos while I read my weekly gems. I love the burraco now: part taco, part burrito. Please look for my taco poems (below) in the current seveneightfive. :) Also, I look forward to continuing the tradition with my children.

[

Taco Showdown Poems

 

Two out of two poets prefer the taste of Tortilla Jack’s over Taco Villa and Taco Casa.

 

 

Tortilla Jack's

                                                                                    Kevin Rabas

Choose four hard corn tacos

   in plain white butcher paper
over some white flour, drip-through
   soft tacos kept warm downtown under a lamp
with a hot orange bulb.

Choose the land of dark hardwood interior

over the land of teal plastic.

Choose the conversation of graying grade school soccer

   coaches over the chatter of slick SUV travelers—
iPhones out--who stop only at the chains.

 

[

Tortilla Jack’s Sonnet

                                                                                    Dennis Etzel Jr.

From inside the brick walls, rustic

like stains from oven heat, through
narrow windows, you see the path
away from middle school
bullies, a run, to here— 
comics spread across the table,
a ticket in your right hand,
waiting for your order

number to be called, and no one

will race you for your food.
No one can break through
Captain America’s shield.
No one can steal
your taco and Dr. Pepper.

[

 

Cheap Tacos

                                                                                    Kevin Rabas

 

Walk across from the college

   and get four tacos and a drink
for $5.07 on a weekday.
   Less on the weekend.
See flecks of history painted in brick.
TORTILLA JACK'S
The letters crack in rain and wind.

 

[

 

 

Tortilla Jack’s Haiku

                        for Eric McHenry

                                                                                    Dennis Etzel Jr.

I asked him to see

a poem there, but, instead,
he found three tacos.

[

Kevin Rabas co-directs the creative writing program at Emporia State University and edits Flint Hills Review. He has three books: Bird's Horn, Lisa's Flying Electric Piano, a KS Notable Book and Nelson Poetry Book Award winner, and Spider Face: stories. And forthcoming from Coal City Review Press in March, Sonny Kenner's Red Guitar (poems).

 

Documentative Poetry

People who know me well know I can become too camera-happy, taking several pictures to make sure I get one good photo. With technology, I can even record using my camera while anyone in my "film" are unaware that I am recording.

It's a matter of preservation. In this last year, I've realized how important libraries are for keeping archives, books, etc. Not to say I was ignorant, but I am at a time in my life, in whatever poetry is becoming, where the old guard is leaving and the next generation is entering.

Also, I have photos of my "growing up," but a lot of it lost.

In short, documenting is a part of saying, "These poets said this on facebook."

It also finds its own place in my work.

For Katie

These are only suggestions:

First, save one file with all of the notes you took.

[

Use that file for a second file, shaping a pedagogical-themed essay.

I like what this says: How to Write a Paper on Pedagogy

This could have a long introduction, including what AWP, the importance of it in creative writing, your subjective perceptions, etc.,

Also, the leadups to the notes, with elaboration-analysis of what was at each panel.

Not only could you include your analysis on how you could construct lesson plans, but you could be innovative for one of these topics (from the above link):

"The first involves new or innovative conceptualization of issues related to planning education (e.g.,

faculty and student diversity, planning schools assessment, student recruitment and advising).

The second provides assessments of the state of planning instruction and curricula regarding

specific topics (e.g., teaching of environmental planning, addressing global megatrends). Such

assessments can rely on survey research and quantitative methods, but robust qualitative analysis

also can yield fresh insights. The third type offers accounts of specific courses or teaching

innovations. Recently such innovations have included the use of new technology (e.g.,

multimedia, simulation, and virtual space) and new learning practices (e.g., work-based or

experiential learning, distance learning, and international education and exchange)."

I like the ideas of diversity, assessment, etc.

[

Then include the lesson plans. :)

[

Please let me know if you would like to meet.

For Elizabeth

These are only suggestions:

In the Essaying the Essay panel, the panel spoke of how the essay "form talks about itself," how it is "self-referential. self-reflexive, and meditative."

Your essay should take on this attributes, maybe in the last revision? Or while crafting?

[

First, I recommend typing out your notes. Save this in one file.

[

Second file: Shape the notes into descriptions of panels, what was the gist.

Add you reactions, contemplations, emotions.

Add descriptions of the bookfair, of the people there. Try to balance the external with the internal.

What happens at AWP?

What doesn't happen? What fails?

Exhaustion, time. What is AWP for others?

From the "Post-Memoir Memoir" panel: Use high and low speech.

Save this.

[

Third file: Go back to your notes, and take note on the different suggestions for writing.

Try different techniques to revise. Keep a "Notes" page which describes the technique you try.

For example: pg. 3: I wrote an imagined scene at AWP, as I learned in the panel "Essaying the Essay."

[

Allow yourself the chance to be nonlinear, nonchronological.

[

From the "Essaying the Essay" panel:

An essay can have wit, mischief, and is contrary to seeing things.

Intuition and instinct to sustain an idea of curiosity. To evade one's self to get to an alive thing.

A balance of an open encounter with an awareness of shape.

[

Feel free to include fragments, snippets of experiences, etc. Like when you tried to listen to the Waywiser Press reading while "the game" was on upstairs. Or going to another reading at a bar and being turned away. Maybe this is as much of the AWP experience? (I know there were moments of letdown for me, as there always is when attending something intense.)

[

I hope this helps, Elizabeth! We can also meet at any time.

My personal suggestion: Start small. Then revise with play!