So I finally got round to reading a couple of the writing magazines I subscribe to and reaching p.52 of Writers’ Forum, nearly choked on the tipple I was drinking! (a glass of chilled Nepenthe, very nice).

Writers' Forum poem

How fab is this, what a wonderful surprise! This is a poem I work-shopped during the Poetry School’s online feedback course I took part in recently hosted by Catherine Smith, which I then submitted to Sue Butler, the poetry editor of the magazine, a few months ago.

Writers’ Forum is an interesting read. Published every month out of Bournemouth in the UK, it’s essentially a toolkit for writers, full of articles, tips and reviews to help you along. The deadline for the poetry competition is the 15th of each month and with no entry fee and prizes to be won, I’m sure Sue gets inundated with submissions. So again a little bit pleased, got my happy dance perfected!

Well here it is folks, my first collection of poetry! And I haven’t stopped smiling!!

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This collection has been hovering around for a while, waiting (and not always patiently), to feel right enough to be allowed out. And when it finally does, reads well (I’m biased of course!) and flows, it’s such a wonderful moment, like you’ve finally achieved that elusive whole. Anyway, I digress…

The chapbook contains 20 poems that explore loss – of the self, another or the connection between – which I hope provoke a few thoughts rather than a need to reach for the tissues!

I am so pleased with how it’s turned out, having been beautifully put together by Brenda and Stephen Matthews at Ginninderra Press, who have had the painstaking experience of dealing with a poet and her precious perfections! And I am honoured to be their first of the new Picaro Poets, which I have no doubt will become a fantastic series as it continues to grow.

So I’m taking Brenda’s advice, of giving my chapbook the life it deserves, by arranging a launch (further details to follow shortly), so for those of you interested keep an eye out, while the other one can be reading it  🙂

Words@Wall, the event hosted by Friendly Street Poets, has changed a little. Mainly there’s no wall now. In its place a beautiful antique mirror complimented by a funky cube-enclosed gas fire on wheels and wonderful wooden floors. This is the cosy and eclectic interior of its new venue Halifax Café, where Alison Flett and Ken Bolton, introduced by Jelena Dinic, had a captive audience.

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Alison I could listen to for days. With her Scottish lilt and soft tones, when she reads she can take you away. Alison shared poems from her ‘fox’ series – one of several possible chapbooks she is planning to publish with fellow poet Jill Jones. Each poem varied in length and perspective, but with always a fox at its center. Some explored the European forest myth, one was in the voice of the fox and with memorable lines like ‘a pencil line of silence’ she experienced when seeing a fox up ahead at the roadside when her family didn’t, this is a collection that will no doubt prove very popular.

This was first time I had heard Ken read. Used to hosting such events in the Dark Horsey Bookshop Ken was entertaining, and began with a new poem called ‘Dark heart’, of which its closing line of ‘but didn’t’ still resonates. Ken then read a series of older poems about seemingly everyday things, his friends and one that had developed after he’d found a blank page with the words ‘Dear Lori’ scribbled on, the unwritten letter of which became a poem. Ken’s work has been described as a ‘stream of consciousness’, which indeed it was, and we were invited along for the ride.

is going to be published! Needless to say I am over the moon, with the cow and everything!!

cow over moon

It will be a chapbook, part of the Picaro Poets series published by Ginninderra Press based in Port Adelaide, so about 20 poems. Short and sweet I know but I am absolutely thrilled, a book of all my own work, how amazing is that, and it will even be available in bookshops!!

Ginninderra Press is an award-winning independent publisher run by Stephen Matthews that provides opportunities for new and emerging writers, as well as those writing about more non-mainstream topics. They only accept a very small amount of manuscripts they receive, so I am really quite honoured they are publishing mine.

Having recently acquired Picaro Press, an independent publisher based in Melbourne run by Rob Riel, Stephen and his partner Brenda have developed a new series of Picaro Poets to continue the tradition of Picaro Press chapbooks. So I have been working closely with Brenda to develop mine – choosing a cover design, editing content, adding acknowledgements, writing an author biography, etc. – and I can’t tell you how excited I am to see the final product, you know, just a bit! Launch date to be announced, woohoo!!

Now that’s the name of a workshop that gets your attention! And one I attended on Friday facilitated by David Chapple, Writing Development Manager at the SA Writers Centre.

Why did I go? Death is something we all have in common – be it in the family or what will come to us whether we like it or not – and as much of my work focuses on certain aspects of loss, I was interested to hear other people’s opinions and feelings about death, grieving and the impact it can have.

Walk into the light

I had no idea what to expect, other than I knew that for me it would be an emotive experience, and I was pleasantly surprised. David did an amazing job of prompting, surmising, sharing and exploring our thoughts and beliefs of mortality, and I think we were all quietly awed at just how quickly we shared and how much. Eight strangers, who may or may not meet again, in the beautiful grounds of Enfield Memorial Park on a cold sunny day provided the perfect setting.

The morning consisted of a series of prompts that literally decomposed (excuse the pun!) the last death ceremony we had attended. For some of us, including me, it was difficult to get past the sheer volume of feeling to remember specific sounds, tastes and smells, but it created a patchwork of human experiences, some light, others more intricate. In the afternoon we were asked to think about arranging our own death ceremony! Morbid and weird indeed, but again an interesting challenge – who would we want there, is there anybody we wouldn’t want to attend, how would we be remembered, what would be said, would there be music, laughter, tears, dance, what did we not regret, what did we still want to achieve…?

It takes courage to share and I feel quite proud to have been a part of this, and when asked if there was anything we would change about the workshop we said more time, because there really is much to ponder. And I will leave you with this simple message – life is short, make fun of it  🙂

Tuesday saw the last Lee Marvin reading from this series in the Dark Horsey Bookshop, where Ken Bolton introduced Gay Lynch, Cath Kenneally and Louise Nicholas. And an entertaining evening it was.

Lee Marvin 2

I first met Gay at Rachael Mead’s poetry launch of The Sixth Creek roughly this time last year, where she told me about Transnational Literature and encouraged me to submit. Gay writes prose, and shared a short story with us set in a country town told through the eyes of Cecilia, the central protagonist. Listening to Gay, with her dulcet tones and eloquent language was not unlike falling into chocolate – a certain smooth fluid texture leaving you wanting more. And so I have ordered a copy of Cleanskin published by Wakefield Press, Gay’s first novel.

Cath read poems about her recently departed dog, who was either the focus or hovered around the perimeter, and they were touching pieces any pet-lover could relate to, delivered in a poignant, compassionate way. Cath also read a piece inspired by Joni Mitchell, the haunting Canadian singer-songwriter, who I remember most from Love Actually where Emma Thompson’s character is fascinated with her music…I digress.

Louise began with poems about her mother who died with dementia a few years ago. These were brave, emotive pieces, both poignant and humorous, that blurred the boundary between mother and daughter. Louise’s performances never fail to entertain. She provides context, shares with feeling, makes connections, and it’s this raw real intimacy that I find so appealing – she leaves you feeling like you’re old friends. Louise also read a poem inspired by Sharon Olds, which only served to demonstrate her unique encompassing talent. Louise’s most recent collection Large from Garron Publishing is an entertaining read.

I asked Ken, host of Lee Marvin, how he selects his readers. He replied by recommendation usually, but added there’s nothing to stop me from recommending myself. So I did! And he invited me to read at a slot in September!! I am thrilled because these events are ‘a must see’ in the Adelaide poetry scene and to share the stage (i.e. desk and lamp) with some of Adelaide’s finest writers is quite an honor. No pressure

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Well it’s that time of year again when the Lee Marvin Readings start up. Running every Tuesday in alternate months at the Dark Horsey Bookshop, poet and host Ken Bolton always delivers an eclectic variety of readers.

Lee Marvin

The first evening was with Matt Hooton, Kelli Rowe, Shannon Burns and Rachael Mead. Canadian writer Matt read a piece of prose that centered around his grandpa, the kind you could get lost in, as did Kelli in her piece about a dollhouse. Shannon also read prose, his window imagery stayed with me, so Rachael was the only poet of the night and regardless of being a friend (really!), my favourite. Rachael read a series of poems about the overland walk she made with her husband in Tasmania earlier this year. These were striking pieces, drawing you into moments of wilderness, haunting in their beauty – her work is inspirational.

The second evening saw regular Steve Brock, Jim Moss, Susan Hawthorne and another of my favourites, Alison Flett. Steve read a variety of pieces of varying length, one notable one about walking along the Torrens while waiting for a call from the hospital to say his wife had come round from surgery, the river representing his consciousness, the ducks his thoughts. Jim read poems literally comprising lines from well-known songs, cleverly done and entertaining. Founder of Spinifex Press Susan read poems from her collection Lupa and Lamb, an intriguing series of real and imaginary texts. Alison was at her dazzlingly best, reciting three poems from a series called Vessel, in which the body is just that – sometimes full, other times empty – with intimate evocative imagery.

Unfortunately I’m not able to make next Tuesday, missing the likes of Jill Jones, Peter Goldsworthy and Jelena Dinic, but definitely plan to attend the final evening in May when another poet friend Louise Nicholas will be reading.

I recently found out about a project very close to my heart through Abegail Morley’s The Poetry Shed. To help promote Mental Health Awareness Week in the UK from 11-17 May, Sarah James will be using her blog to host With You In Mind. Sarah James

Sarah is an inspirational poet whose work has been widely published in a variety of journals, anthologies and newspapers, as well as in solo collections. The first, Into the Yell, was published by Circaidy Gregory Press in 2010 and won third prize in the International Rubery Book Awards the following year.   Sarah’s second collection, Be[yond], was published by Knives, Forks and Spoons Press in 2013, who have also published her latest book, The Magnetic Diaries, earlier this year.

Like countless others, Sarah has her own stories of mental health that she shares on her site and through her work, something I can relate to as I do the same in my own (try it, it can be very cathartic!).  So having been involved in the last couple of mindshare poetry projects to promote Australia’s Mental Health Week in October, I contacted Sarah to offer my support for her project and any help to promote it. I was then thrilled to be asked by Sarah to use my poetry film, Black dog, in an advance posting of her project.

So keep an eye on Sarah’s site over the coming week to read some fantastic poetry from the likes of Helen Ivory, Carolyn Jess-Cooke, Abegail Morley and Catherine Smith, all of whom have generously donated some of their work to this very worthy cause.

So our floor has been papered with poems this weekend to help me finalise my first solo collection to be submitted to a publisher. Good job the husband’s away!

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Using some of the exercises in Pascale Petit’s Towards a Collection course booklet, I have never had so much fun with my work. And such an intense experience!

Deciding which poems to include didn’t actually take too long. What took time was deciding the order of them. So onto hands and knees I went to arrange them all around me, and I know this sounds weird but pretty soon they were talking to each other. And connections were made and a kind of pattern emerged, almost organically, when I considered form, shape, length, perspective and content. I wanted poems to compliment each other as well as producing contrasts, and alongside the overall theme others emerged, images echoed and after reading it all through in one sitting I felt quite emotional – as  all the characters and feelings from each piece met for the first time in my head.

Following Pascale’s advice, I started the collection with a few strong poems to pull the reader in and closed using the same technique because let’s face it, we do all have our favourites in our work. And I must admit I’m very pleased and excited by the final product. Fingers crossed the publisher is too!

That’s the number of poems I’ve had published, or will have very soon thanks to an online literary journal based in Dublin called The Burning Bush 2, who recently told me they would like to use some of my work in their next issue!

Burning Bush 2 header

So 30…is this good or bad? Or just plain mediocre? I actually think it’s not too bad considering I’ve never had a collection published, and the spread is across a variety of journals, magazines, both in print and online, anthologies, competitions, with even one turned into a short film. And they’ve crossed the Pacific and Atlantic, and back again to cover three continents. It could be higher, but it’s a good solid number to grow and become more me thinks.

And then reading an update by fellow poet Abegail Morley about her forthcoming collection, The Skin Diary, being published by Nine Arches Press next year, has kick-started me again to return to my own collection I’m currently putting together. It will only be pamphlet-size to be sent to a publisher in Australia with a current call out for such work. So we’ll see what happens. In the meantime, I’ll pocket my 30 and raise you

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