Posts Tagged ‘literary journal’

My poem, Miss Sopa, is in the December issue of Plain Spoke.  It’s not the same Sopa poem that appears on this blog, but it is inspired by the same woman.


Plain Spoke is edited by Cindy M. Kelly and comes to us from Amsterdam Press in Ohio.  I love all of their work and have been introduced to many poets and writers through their pages.


This awesome cover photo, Step Right Up, is by Christopher Woods.


The featured poet in this issue is Marty Walsh.  His poems are excellent, and I am particularly fond of his poem, Ghost Town.


Marty Walsh lives in Winterport, Maine, and his work has appeared in many journals and reviews.  His book, Furniture Out in the Woods, is out of print, but I am determined to find a copy when payday comes, because I dig his style.  If you have known me for more than five minutes, you’ll know that I would think Furniture Out in the Woods is the coolest title in the world.  He is currently working on a second book of poetry, and I’ll keep my eyes open for that one, too.


You can order this issue of Plain Spoke HERE.   You can also order past issues and other books by Amsterdam Press by clicking on the right hand side under “seller’s other items”…or just click HERE.  In addition to Plain Spoke, there are excellent books at Amsterdam Press.


There’s also a great review about the spring 2009 issue of Plain Spoke at Newpages.com.  You can read it HERE.


Of course, I enjoyed it all.  Every issue of Plain Spoke is a pleasure to read.  Many thanks to Cindy M. Kelly for including my poem in this one.


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I’m very excited to have three poems included in ouroboros review.   I’ve been a fan since ouroboros review first appeared on the scene last winter.  In just a few short months, ouroboros review has grown to both a print journal and an online zine.  It continues to grow and reach new audiences every day.

Ouroboros Review is edited by Jo Hemmant of Florescence and Christine Swint of Balanced On The Edge.  Both Jo and Christine are exceptional poets.  I think that makes a big difference in how beautiful the magazine is.  They have a true concern for poets and artists.  It’s a labor of love for them.

Michelle McGrane is the featured poet, and her work is astounding in its power and excellence.  Check out more of her poetry at her blog, peony moon.  Seriously.  You will be blown away.

There is also a very interesting interview with her.  Michelle’s third book of poetry will be published by Pindrop Press in 2010.  Pindrop Press is a new venture for the ouroboros editors, and they will also be hosting a chapbook competition in the future.

Collin Kelley also interviews musician and poet Vanessa Daou in this issue, and it is another top notch read.

All of the poets and artists are excellent, and I am honored to be included next to them all.  You can read my poems and all the others by clicking HERE.

There is also a store where the print journal can be purchased.  I’ve already ordered a copy and can’t wait to hold it in my hands.



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I’m very excited to be this weekend’s featured writer at Shoots and Vines.  Six of my poems will be posted on February 13, 14, and 15.  You’ll see good old Aunt Aggie and also a newer poem, Snake Handling.

While you’re there, please stick around to read all the excellent writing and see the artwork.  The editor is Crystal Folz, who is an amazing writer.  You can see her work (and everyone else’s) by pulling down the names on the contributors’ sidebar.  My friend, Scot Young, was the first feature writer.

At the risk of sounding like a gushing fan (again), I am so thrilled to have met a talented editor like Crystal.  Shoots and Vines is a beautiful site, and her concern for showcasing writers and poets is obvious.

The first print edition of Shoots and Vines is available at Penny Lane Coffee House in Evansville, Indiana.  When you’re on the Shoots and Vines site, check out the editor’s notes to learn more about publications and collaborations by Shoots and Vines writers.

If you happen to be in the Evansville area, stop by the Penny Lane Coffee House.  I’m adding them to the list of places I will go when I head back to the area for visits.  To hell with Starbucks!!

If you’re a poet or writer who’s struggling to get published in this crazy world, don’t give up hope.  There are very cool editors out there like Crystal Folz who truly care about writing and art.  And there’s some excellent work going on in the small press world.

What impresses me about the editors I have met in the small press world is that they are also writers, poets, and artists.  They are right there in the trenches with us.  They don’t lock themselves away in some lofty ivory tower.

The Shoots and Vines site has moved to a new location, but I changed that link here also.  Submission information is also on the site.  Why not give it a try?

Click HERE to check out Shoots and Vines.  Stick around and give the contributors some positive feedback.  Link them up and tell a friend.  The small press world depends on folks like us.

Thanks so much to Crystal for this exciting opportunity.  And thanks so much to everyone here who continues to encourage me.  Your support is most appreciated!



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Every now and then, something comes along that gets me so excited, I have to make sure everyone knows. You may have already read ouroboros review, but if you haven’t, please check it out. .If you have, then read it again!

Edited by Joe Hemmant of florescence and Christine Swint of balanced on the edge, this  journal is overflowing with talent. I was already a fan of Christine and Jo’s poetry, but now I’m impressed on an even deeper level. As one who has dabbled as a “helper” in small presses, I can tell you that the creation of a literary journal is no small task. Many poets come up with the idea, yet many have fallen by the wayside. Christine and Jo have truly risen to the occasion.

The poetry in ouroboros is astounding in its excellence. The artwork is breathtaking. Some of the contributors are amazing poets, writers, and artists I have met in blogland, and I’m already a big fan of their work. Other contributors are new to me, and I am very excited to read their work. Everything in the journal is a pleasure to read.

Another thing that struck me while reading ouroboros is that all of the pieces were chosen with care. When looking through the pages, it is obvious that the editors are lovers of poetry and art.

The layout and design of ouroboros is also excellent. I have read several online journals that contain great work, but I either find myself squinting to read or the layout just seems dull. That didn’t happen at ouroboros. It’s very pleasing to the eye and “user friendly.” I also love the way the pages turn.

But that’s enough of my gushing. Click here and read for yourself! You’ll be glad you did..

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Here’s the story of the worst editor to ever take up space on this beautiful planet.

During my second year as an undergrad, someone very close to me was raped. It was a horrific experience, complete with guns, knives, and torture, like a scene from a Law & Order SVU episode. She was, needless to say, quite emotionally scarred.

A few years later, I wrote a poem about it and submitted it to a literary journal. I received an unbelievable response from the editor. He took the time to type a six page, single spaced letter in which he ranted about how he would never, ever publish a poem about rape, because he was so tired of hearing women cry and moan about the subject. In his opinion, women who get raped usually “have it coming,” because of the provocative way they dress or act around men. In his words, he was “sick of wenchy women poets who are always bashing men.”

He said that women who write poems about rape secretly desire to be raped, because they want to be dominated by men. He also said that rape was a bad subject, because it was “too baggy” and long, and no poem should be more than fifteen or twenty lines long. He wondered if I thought I was Alan Ginsberg, because he also hated Ginsberg, and he suggested that I pay more attention to commas and less attention to political issues du jour.

The hair on my head physically stood on end as I read his letter.

At first, I hoped I misunderstood what he meant. Surely, no editor of a literary journal could ever be such a cold hearted bastard. But after reading the letter several times, the words were pretty cut and dry. I sat in stunned silence knowing that I understood him oh too well.

Then I ripped his letter into as many pieces as I could and set it on fire in the backyard. Now I regret doing that. If I had saved it, I could have posted it on this blog for the world to see. I could put his name in huge, bold letters. But I was so upset by his letter that I don’t trust my recollection of his name or the name of his journal. I’d hate to mention what I think it was in fear of accidentally slandering some other good soul out there.

Part of my “revenge” is to imagine him as I think he is now–fat, bald, sitting naked at a creaky kitchen table under a bare lightbulb, looking at his latest porn magazine, maybe yelling out the window at the neighborhood kids.


Please understand me. I am not offended when a literary journal rejects me. That would be petty and childish. For that matter, most rejection actually helps me. I go back and question what I have done and often make positive changes. Or I rethink my submission strategy or purchase journals when I can. Maybe the market does not fit the style of my work. Or maybe the poem just sucks, and I need to put it aside for a while.

What offends me is the way the poem was rejected. It wasn’t just a rant against my poem. It was a frightening rant against women in general.

So, I immediately sat down and wrote a poem called “DON’T WRITE A POEM ABOUT RAPE,” which was accepted by Calyx: A Journal of Art and Literature by Women. You probably know about Calyx, because it is a very well established and respected journal with amazing work by some big names and many new names, too. But if you don’t, then check them out. The writing and artwork they publish is first rate, and I was thrilled and humbled to be included. Yes, there are still many good editors out there, so don’t give up hope! Many thanks to Calyx for publishing my poem in their summer 1992 issue.


by Julie Buffaloe-Yoder

For the editor who told me

rape is not a fresh subject

(he knows who he is).

Rape is a cliché.

Unless it happens to you.

But don’t write a poem about it

or the editor might say

it’s just not fresh.

Rape is not fresh.

It’s been done too much.

It’s too emotional, confessional.

There are too many words.

People are not shocked anymore.


Don’t write a poem about it

especially if you were in the dark

university parking lot, a little more than tipsy,

and he forced you into his car with a gun.

Dark parking lots and guns are so overdone!

Don’t write a poem about it

especially if the digital time on his dash

was 12:00. It’s too much like the Twilight Zone

especially if those stiff red numbers

still ring in your brain sometimes

when you’re in the grocery line

and you drop everything you got, and the tomatoes

and the peaches, and the can of cream corn

go rolling down the aisle.


Don’t say he drove you down a dead end road.

Don’t tell how he bent your fingers back,

slammed them with the door over and over.

How heavy-handed can you get?

Don’t tell how he took the right to bare your arms,

your legs, your goose-bumpy little nipples,

and when he ripped your shirt in loud red shreds

you were trite enough to worry

what people would think about you.


For God’s sake, don’t say you were a virgin.

Honey, save it for the Movie of the Week.

Don’t tell about the fistfuls

of sand and gravel in your open mouth,

your open face, up your open legs.

It’s just not fresh.

Maybe try a different point of view.


Don’t tell how he held the gun so tenderly

in your ear, under your tongue,

deep inside the stretched-out skin

of your nostril, and you could smell the click

as he cocked it, and you could taste the click

in your throat as he made you call him Lord.

With the right music, it might work for a porno flick

but not for a literary journal.


Don’t tell how you looked up at the full moon

with its mouth torn into a little o

as you waited for it to be over.

Don’t you know the moon is overused?

And there are inconsistencies if you say

you almost laughed out loud

cause you were a stupid little twit who thought

who actually believed the first time would be romantic.


Don’t write a poem about it. Just don’t.

Especially if you went crazy when it didn’t end

and the only defense you had was to black out

and dream the damnedest dreams about a book

you used to have when you were a girl

and you dreamed a little song about the silvery moon,

the moon on the breast of the new fallen road

the Carolina moon that kept shining, shining,

shining on the one who’s raping you.

And when you woke up, it wasn’t over

but the Goodnight Moon was gone,

and you saw an old woman in the distance

come out on her porch to hear

what all the Hell raising was about,

turn out the light and go back inside

and you might’ve thought Good Night

to the Old Lady Whispering Hush,

but that’s too obvious, and anyway

we’ve heard that story before.


Don’t say he dragged you down the road by your hair,

the gravel chewing your back to bits.

Good Night Bowl of Mush, it’s just

the caveman syndrome. Get over it.

We’re sick of wenchy women poets

who are always bashing men.


And the part where he was gentleman enough

to drive you back to your dorm

just doesn’t fit the character.

Don’t say he told you he’d kill you if you breathed

a word, then asked your forgiveness, told you

not to worry and go get some sleep.

Would he really say that?


Don’t say he drove off in a limp line of smoke

as the sun came blinking over the horizon

and you staggered and puked your way back to your room,

knowing you wouldn’t make it to Psychology class that day.

Don’t talk about the guilt for not turning him in.

Take your ass to a talk show or a support group or a priest,

stop throwing the reader around.


Don’t tell the never ending end

of your whiny little poem. Get a grip.

Especially if your roommate laughed and said

Why would anybody want to rape you?

And the counselor said you’ve got to take control

of your life, and your boyfriend tried to understand

why even his understanding would never be enough,

why even his softest fingertips would always be too much.

So you drank yourself into a quiet rage

and now six years later it’s backed up in a corner

of your throat, bristling, sideways, ready to lunge

at the thickest, closest, slickest, hardest vein.


Nobody wants to hear about it anymore.

And the editor doesn’t care that

you’ve already cut half the words

and many of the details.

It’s still too sprawling, too baggy,

too talky, not fresh.

Go tell it to Ginsberg, we’ve

got a comma to perfect.


But if you’re that damned stubborn, go ahead.

You’ll write the poem alone

and it’ll live in a junk drawer

swelling up like a belly

under a pink pile of rejection.

Serves you right.

So stop acting like a bitchy female poet.

It just won’t work. It’s just not fresh.

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Today’s rant is about editors of literary journals. Okay, okay…before you pelt me with leftover wine and cheese from one of your schmoozy parties, I guess I should learn to be more politically correct. Today’s rant is about crappy editors of literary journals. Not all editors are crappy. Some of my best friends are editors. There. Are you happy now?

I’m just a little annoyed with a few of the bigger dogs today (and a couple of the little ones). Currently, there are two dozen pieces of my work “on hold,” because of the crappiness of editors. Reject me, please! Let me get on with my life!

What is up with making me wait eight months to a year-and-a-half, and still there is no response from your highness? Have you never heard of e-mail? How about a spam e-mail? Dear Losers: Your poems and short stories are being held hostage. Do not complain, or your career will be shot. Do not think for a moment that this means you are being considered. Chances are, you’ll receive a form rejection note six months from now. Have a crappy day.

At least I would know you received my work!

Oh wait…that’s right. What was I thinking? That would mean acknowledging the fact that poets and writers are human beings who deserve the same professional courtesy you give anyone else. We can’t have that.

Some of you even insist on snail mail submissions!!!! Heaven forbid that we should save a tree or dip the ends of our toes into the twenty first century. And you refuse to let me submit elsewhere or even post MY OWN damned work on a blog, yet you make me wait endlessly for a simple response?

Why? Because you have the power. You know I would wet my drawers to be in your slick journal. Because it might help an idiot like me get some recognition, connections, and more publications that could maybe…possibly…perhaps lead to a little (gasp) money to buy some fancy wine and cheese of my own.

Meanwhile, my work…my life’s blood…is at your mercy. Did you receive it? Is it still in the slushpile? Under a dusty desk? Next to somebody’s toilet? In a bird cage? Did anybody even read it? I don’t know. You can’t be bothered to drop my self addressed, stamped reply postcard in the mail. And all I hear are crickets when I wait six months per your guidelines to politely inquire about the status of my submission.

You suck.

Yes, I know you are king pen of the world. You are the established machine. You are the academic literary world at its most snobby elite.

You can make or break peons like me. But would it be so difficult to recruit a few more freshmen interns on your staff (or monkeys…what the hell), so they can pin a rejection letter to my story and throw it back in the SASE I so carefully included with my submission? Is that too much to ask?

It wouldn’t be hard to train the monkeys to recognize three line stanzas or really witty foreign phrases. We all know your oh-so-progressive journal is “open to all styles and voices.” Yeah, right. But don’t get me started on that one today.

And I don’t care about your personal problems. Or the fact that your mother-in-law’s coming to visit. Or your ingrown toenail. Or how you receive “thousands of submissions” from us losers a day. Yeah, yeah…cry me a river (and see the monkey idea above).

Response times should be humane, regardless of what’s going on in your life, regardless of what you don’t get paid, regardless of the size of the slushpile. ‘Cause, honey. You signed up for it.

Yes, I’m just another annoying, crazy writer who thinks a three to six month response time is not too much to ask.


Stay tuned for Editor Rant Part II…when I will describe the worst editor to ever take up space on this beautiful planet.

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