A Muted Blue Star Muses: Studio Appalachia

Showing posts with label Studio Appalachia. Show all posts

Monday, June 20, 2022

North/South Appalachia Anthology Vol. 2 Submission Call

Call for Poetry Submissions

From North/South Appalachia!

DEADLINE: July 30, 2022

The Watershed Journal Literary Group is joining Studio Appalachia and AvantAppal(achia) to publish a second anthology of Appalachian Poetry in the fall of 2022.

Watershed/AvantAppal(achia)/Studio Appalachia poets are invited to submit up to five poems for consideration by the editors Patricia Thrushart, T. Byron Kelly and Sabne Raznik.

You can view the first edition on Amazon. https://www.amazon.com/.../ref=cm_sw_r_awdo

Submission Guidelines:

1. You must have been published in The Watershed Journal or AvantAppal(achia) previously

2. Previously published poems are acceptable. Please be sure to provide any credits your former publisher requires

3. Submit up to five original poems via email to studioappal@gmail.com along with a bio of less than 100 words

4. There is no fee for submission

If selected, your poem(s) will be published on North/South’s website and included in the printed anthology, which will be available for purchase on Amazon and at Watershed Books.

Send questions to studioappal@gmail.com. Learn more about North/South Appalachia at https://www.studioappalachia.com/northsouth-appalachia.html

We look forward to your submissions!

Wednesday, September 25, 2019

Book Review of T. Byron Kelly's "Poems"

T. Byron Kelly, Poems (Createspace, 2018) 119 pages, poetry, $9.00 USD. On Amazon.

To be honest, there's only so much religious poetry I can take, regardless of which faith. So if that's not your thing, Kelly isn't for you. Another annoying factor is that each poem is dated and often has multiple dates to point to revisions. While that is a valuable tool for a poet's personal manuscripts, it interrupts the flow when transferred to the published book.

But he can turn beautiful, evocative phrases. Kelly's poetry reads like impressionist paintings. For example:

I began by noticing your blue wish day and each black
or white faced cloud seemingly spoke with that other radiant
loving of the air. Transgressing doubt, a music that fills
my evenings with gentle prayer, this consecration of your endless
gift, orange and gold leaves are lifted and the daydream
continues. How could I forget or be frightened where this
chance began our quiet walk together (though at first I
wanted to run). Dry grass insists it's Winter and the strangely
blithe gestures of women walking alone or perhaps lost
in their rush hour car seats. The completed reaches eternally
toward the turning soul, where weakness had born belief of nothing,
an insanity of otherness, crashing against our desire for forever.

Where the poems avoid the trap of overt religiosity and devotion, there they are closest to the song of spiritual. There they invite you to dive in and give yourself over to this other-world of Kelly's imagination. There they are true poetry.

Monday, February 25, 2019

North/South Appalachia Poetry

So I'm part of this now. One of the editors for the Southern Appalachian Region.

More info: Poetry & Art from Northern & Southern Appalachia. North/South is a publication of Studio Appalachia *Named adopted from the North/South Appalachian Highway Official Website Blog on the Studio Appalachia site Studio Appalachia Facebook Page
North/South Poetry Facebook Page

Subscribe to: Posts (Atom)

"Fingers" Broadside

A unique broadside designed and printed on January 4, 2014 for the Kentucky Association of Sexual Assault Programs (KASAP)'s The Rising Center's "No More" traveling art exhibit to raise awareness to end sexual and domestic violence. The art exhibit will travel throughout the state of Kentucky in 2015, after which the broadside will be auctioned off at the Rising Center's discretion. The broadside features the much-praised poem "Fingers" from the collection "Following Hope" (Xlibris, 2007). There is only one (1) "Fingers" Broadside in existence.

Rabbit Hole

"I want the reader to imagine a dream, a dream of the sort that is not quite a nightmare where the dreamer wakes in terror but rather a dream where the dreamer is led on from curiosity to curiosity, image to image, and, confused perhaps but no less surprised by the images, wakes with a head scratch and begins the day, thinking about the world as a much stranger place than when the reader laid down to sleep ... [In the poems where the language is more] extreme . . . the deconstruction of language . . . [mirrors] the shattered state of language today and the impossibility to understand discourse of any kind anymore. It is as if language itself is designed to disguise meaning rather than convey it.” - George Fillingham

Renaissance: Visual Art 2005 - 2019

“Renaissance” is an emotional collection of work. Sabne Raznik’s pieces present the human experience in a thought-provoking and abstract way through body shapes and delicate hues. A mix of digital and traditional media, Raznik’s work is compelling in a way that makes the viewer’s eyes want to linger - taking all the details in. The traditional drawings of the “Salome Series” capture movement and exotic femininity with only the use of line and simple shading, while mixed media pieces like “Beautiful Tatters” find beauty in the mundane or unusual, like a scrap of paper soaked in wine. Raznik’s digital paintings feel like one is looking at a human emotion depicted in soft fields of color. Raznik is well known for her written word, but is proving herself to be quite the visual storyteller as well. This body of work is an excellent addition to any collection.-- Erin Alise ConleyMixed Media Artist, Host of "Weird Appalachia" Podcast

Renaissance: Positivity Cards for an Uplifting Day

"Dreaming of Bono" (VoiceLux, 2022)

A little girl, a young lady, and a mature woman walk into a bar and order a pint of Guinness. Only the mature woman leaves. Why? Because "hope has wings" and only the mature woman has the experience enough to manipulate "the sadness in our will : the courage of noble righteous doomed, who defy and defy ... because we must, if only for those who lack the strength to fight". Because, as I told you, "she's lived more than you'll ever read". The collection is a taste of mental growth in action, weaving dreams, reality and over the top stardom into a father figure only to outgrow him in the most superlative way. A carry in your pocket lifting of burdens to peruse over and over again. Why? Because "hope" is making a ruckus to get your attention! -- Marica, Artist

Fingers/Dedos Bilingual Selected Poems (English/Spanish)

Sabne Raznik’s latest collection of poetry Fingers, Selected Poems / Dedos, Poemas Seleccionados contains four powerfully emotive poems (“The Bearded Prophet,” “Poetry,” “Through Our Skin,” and “Fingers”). The English original of each poem is followed by an illustration and then by a Spanish translation by María Del Castillo Sucerquia. It concludes with a photo of the author followed by a one-paragraph biography in English and then its Spanish translation. The four poems are extremely different thematically and make use of different poetic languages. The common denominator between them is an underlying existential anxiety resulting from the inability of human beings collectively to understand each other and set aside greed and self-interest, and individually, in the case of the poet, to find consummation in love, and to discover the language in words and images to capture and communicate the essence of her experience. The poet notes in “Bearded Prophet,” she finds herself in “the era of pain -stampeding pain,” one which paradoxically leads her to identify with the “dumb hillbilly,” the bearded prophet who wears a sign that says “The End of the World Is Near.” Impending doom is suggested by images of the destruction of the environment, the open gashes of Appalachian strip mines, trees stripped bear of life to a height of eight feet by herbicide, and the violent midwestern storms intensified by climate change. “Poetry,” the most abstract of the four poems, prescribes in the form of a series of commands (“arm yourself, “leave the figure,” “Virgin love grow bold” which do not lead to consummation; they prove impotent. “Through the Skin” evokes the locus of creativity, where books, and papers, paint and turpentine are present on a table along with cup and saucer, the place where the written word and the painted image are crafted. The poem leaves the reader with a sense of a purpose shared by the “us” of the poem: “to sketch an idea to live by.” The last poem “Fingers” evokes images of a painful, repeated sexual encounter described as a violation, “like cactus thorns raking down my shapeless lines,” but the violation seems not to result from the violent impulse of the other, rather from the inability of the speaking subject to make good on the promise to the self with the words “Never again, never again.” The four poems are satisfying both as individual compositions and as panels of a multi-media whole. – Yndiana Montes Fogelquist and Jim Fogelquist, Appalachian Latinidad Fingers/Dedos is a powerful chapbook with 4 elaborate poems in English, with the same poems being translated into Spanish. The poetry captures strong images and emotions: "You sat cross-legged in the grass/And the earth framed your face." I was pulled into these poems and transformed into a cocoon waiting to be released into something with such fingers that would "Feel the bone crack,/Grind against my teeth/As I scream [...]" and become new in the aftermath. – John Compton, the castration of a minor god and how we liberated what secrets we modified