Tag: Boiler House Poets

I am pleased and excited to share the link to the latest quarterly issue of Wilderness House Literary Review, which features five of my poems. Many thanks to poetry editor Ravi Yelamanchili and the whole team at WHLR for including me in their spring issue. If you are reading this in Spring, 2022, you can access the current issue at the link above; scroll down to the Poetry section to find Joanne Corey in the list of poets and click, which will take you to my work. If it is beyond that, you can find the issue through the cumulative index as Volume 17.1 – Spring 2022. While you are there, browse the WHLR archive for poetry, essays, art, fiction, and book reviews going back to Spring 2006. You’re sure to find something that will fascinate and delight you!

I thought I’d use this post to give some background on the poems and submission process. As folks who have been following Top of JC’s Mind for a while know, the last few years have been challenging for me as my family navigated the difficult last years of B’s mom and my parents, as well as the joy of welcoming a new generation to our family coupled with the complications of having them live across an ocean from us with the pandemic adding another layer of stress.

Because of all that, I was sandwiching in writing in a rather haphazard way and not concentrating on submissions. When I did begin making myself do the fraught work of preparing submissions, I concentrated on sending out my chapbook and collection manuscripts rather than journal submissions. Usually, a goodly number of poems in a manuscript have already been published in journals and I knew that I needed to get individual poems published as journal publications are the backbone of sharing poetry. Knowing that I was struggling with doing journal submissions, my wise poet-friend Merrill Oliver Douglas counseled me to choose five poems that I liked and send them out to a bunch of journals without stressing over style or if the poems related to each other or any of the other things that were keeping me paralyzed. I did that in early February. I chose to submit to WHLR because they were one of the first journals to publish my work back in Fall, 2015, just as I was getting more deliberate about publishing my poetry and just before we entered into our intensive phase with elder care. I thought there might be one or two of the five that would interest them but I was shocked and amazed that they accepted all five. (Being a good poetry citizen, I immediately withdrew the poems from all other journals to which I had submitted them.)

The rest of this post will give some of the background to the poems. You can choose to read them first, using the links in the first paragraph, or read the rest of the post first and the poems afterwards. I’ll write about the poems in the order in which they appear.

Starting off with a trigger warning, especially for family and friends who may not be ready to read “We probably should have taken off”, which is about the death of my father, known here as Paco. I wrote the first draft in the middle of the night while I was at the Boiler House Poets Collective residency only a couple of weeks after Paco’s death and workshopped it there. I did revisions and workshopped it again with the Grapevine Poets in October – and then couldn’t bear to look at it again for several months. I did the final edits in order to send it out this winter because I knew from the reaction of the poets who had seen the drafts that it was a strong poem. It’s sometimes hard for me to tell objectively when something is strong if it is also close to me emotionally. I had originally written this poem by hand in a journal and tried to replicate the spacing I had used when I put it into the computer. The use of white space seemed to fit the mood of the poem and is a frequently employed device in contemporary poetry, although some online journals advise against it because it can be hard to replicate in their publishing software. My original rendition is probably even “spacier” than the published version due to being on a larger page.

“Sprague Suite” is an ekphrastic poem based on the exhibit Transition: Decade of Decision, Sprague Electric>>MASS MoCA, 1989-1999 by Christopher Gillooly, which was on display there in 2018. When I was at our Boiler House residency that year, I felt as if it was my second home. I was drawn to it because it told the history of the former industrial site which is now home to the Massachusetts Museum of Contemporary Art. I am from the North Adams area, so I also have a personal perspective on that history. The six sections of “Sprague Suite” relate to Sprague Electric, which occupied the site for several decades until 1986, manufacturing capacitors. For fun, I also played a bit with form in this poem. Sections I and VI are haiku and II and V are tanka. III and IV are my go-to, free verse. “Industrial Buddha”, the title of section V, is the name of a collage sculpture of found objects that was part of the exhibit. This poem is part of my full-length poetry collection which is currently submitted to several contests and publishers.

“In my purse” began as a Binghamton Poetry Project prompt in fall of 2020. We were studying list poems and the power of juxtaposition. I’m a fan of list poems and had written several previously. When we write from prompts, we only have about ten minutes to draft, so the poems tend to be relatively short. There is also so little time to plan or ponder that words often fall onto the page in unexpected ways, which is perfect for a list poem where juxtaposition is everything. Thinking this quickly-generated draft had potential, I decided to workshop it with Grapevine and revise it to send out to journals. I’m so happy it has found a home at Wilderness House Literary Review!

“Zoom Wedding – October 4, 2020” also began as a Binghamton Poetry Project prompt in summer 2020. We were to begin a poem with a line from Ocean Vuong’s searing “Aubade with Burning City” about the final evacuation from Saigon in 1975. We were, however, to take our poem in a different direction. I chose the line, “He fills a teacup with champagne, brings it to her lips.” Given that we were then in the early months of the pandemic with public health rules making large gatherings impossible, I recast the line to open the story of a couple forced to cancel a long-planned June wedding and instead hold it in October via Zoom, which, for future readers who might see this after Zoom has been merged, renamed, or supplanted by newer technologies, is a video conferencing platform that gained ascendency when everything from business meetings to church services to family gatherings had to be cancelled or held virtually instead of in person. I began the draft during our BPP session and finished it the next day. I workshopped it with the Grapevine Poets, but then set it aside. I made some revisions in order to send it out this winter. I wasn’t sure if it would appeal to anyone as most people are trying to move beyond the pandemic, even though it hasn’t ended. Thankfully, with vaccines and treatments available, in-person gatherings are much safer in 2022 than they were in 2020.

“Monroe Bridge Mail” was drafted in May 2021 as I prepared to go on a private writing retreat back to North Adams to finish the manuscript which I referenced in the “Sprague Suite” section above. While I went to high school in North Adams, my actual hometown is Monroe Bridge, then home to about two hundred people, about twenty miles distant. I wanted to have some more Monroe Bridge poems in the collection, so I wrote this about our post office. I chose to employ a more conversational, storyteller mode, with long sentences and asides. It is a lot of fun to read aloud, which I had the opportunity to do at the Vestal Museum last summer.

Whew! Long post. If you have made it this far, thank you and congratulations! Please feel free to comment below. I love to know what people are thinking about my poems and/or posts.