I’m delighted to have another haibun in Human/Kind Journal: “Polling Places” appears in Issue 1.2. Both my publications there to date are gathered on a separate author page.
Human/Kind is shaping up to be a really interesting publication, focused on at least two things that really interest me: haiku and related forms, and found poetry. I also like that it provides both PDF and web options, and the editors seem really savvy about social media promotion.
Another journal with both web and PDF/print versions, the Weimar-based PoetryFilm Magazin, also includes a piece of mine in its latest annual issue, my review of the Versogramas documentary.
Finally, I was interviewed about Moving Poems in Quail Bell Magazine last week. Here’s a snippet:
The American poetry business model, such as it is, foregrounds single-author print publications to the virtual exclusion of anything else. When Beyonce’s Lemonade came out, I sort of thought that maybe some prominent poets or poetry publishers would think about releasing video albums, too, but so far that hasn’t happened. But that’s the kind of future I’d like to see: one in which poets feel free to (self-)publish in any and all media, depending on the needs of the product, and one in which poets, filmmakers and musicians regularly get together to collaborate. We might or might not reach larger audiences that way. But I’m here to tell you, it’s a hell of lot less lonely than the poet-in-a-garret model. And it’s so much fun!
Read the rest.
Haibun is a mix of lyrical prose and haiku, and in recent years I’ve written quite a number of examples, but made little effort to send them out until last fall. That bore fruit this week with the appearance of “Flag Country” in the January 2019 (vol 14 no 4) issue of Contemporary Haibun Online, and “World Bank” in Issue 1.1 of HumanKind, a “journal of topical & contemporary Japanese short forms & art.” That focus on topical content makes HumanKind a particularly good fit for the sort of haibun I’ve been writing, and I like their openness to experimental work, as well. Which is not to say I don’t also appreciate the more traditional CHO; in fact, it’s a real pleasure to place work in a magazine I’ve been regularly reading for so long.
Both haibun are from my manuscript Failed State, which I’ve also been privately circulating to filmmaker and musician friends interested in creative collaborations. I should have some announcements on that front fairly soon.