The Not So Secret Lives of Poets! Fun Facts ABout Old Scratch Collective.

Looks can be deceiving. Can you guess who did what?

Can you match these poets: Alan Bern, Anthony Doyle, Ellis Elliot, Gabby Gilliam, Morgan Golloway, Nadja Maril, with the correct fun fact?

Alan Bern
Janet Uchendu

A. This writer/poet has a secret fantasy to be part of a singing flash mob.

B. This writer/poet was so afraid of sharks, they conquered their fears by participating in a White Shark Cage Dive.

C. At a Dallas Cowboy Cheerleader audition, this writer/poet taught the choreography.

D. In high school and college, this writer/poet had a following as a fortune teller. Their specialty was reading tarot cards.

E. This writer/poet was so embarrassed by their first attempt to bake an angel food cake, they buried the “cake” in their mother’s garden.

F. This writer/ poet fervently played the clarinet in their youth with hopes that the instruments vibrations would enhance the quality of their hair.

G. This writer/poet made a project of collecting all the dead ladybugs where they were working and lining them up on the top of their office cubicle walls.

AND THE ANSWERS ARE:

A. Gabby Gilliam secretly or not so secretly likes to be in the limelight. The many talented writer/ poet who by day works as a teacher, sometimes fantasizes about being part of a flash singing mob.

Poet and Writer Gabby Gilliam wearing what appears to be a pizza hat.

B. Poet and writer Anthony Doyle loves to swim. But he didn’t always feel safe in the water because he worried about being attacked by sharks. So in order to conquer his fears he allowed himself to be locked inside a protective cage and submerged in deep water, a White Shark Cage Dive in Gaansbai, South Africa, so he could confront his terror close up and now scuba dives as a hobby.

Photo by Jondave Libiran on Pexels.com

C. Poet/writer Ellis Elliot once taught ballet and was a dance choreographer too. So, once upon a time she taught choreography at a Dallas Cowboys cheerleader audition. Here’s a professional photo of her dancing.

Ellis Elliot, dancer and choreographer.

D. In High School, Nadja Maril was fascinated by the occult: astrology, numerology, time travel and fortune telling. Her talent to predict the future in college, with the aid of a battered deck of Tarot cards had fellow students lined up outside her dorm room door. Eventually, she packed the cards away. “While influences, opportunities and obstacles can be predicted,” she says, “We make our own destiny.”

A very young Nadja performing in a High School play.

E. Writer, poet and artist Morgan Golladay is not afraid to tell the world her first attempt at baking an Angel Food Cake was such an embarrassment, she hid the evidence by burying it in her mother’s garden. Often the work of creating something “just right” takes multiple tries.

F. Allan Bern shares this wonderful photo of him in his youth when long full hair was “a thing” and he was convinced, if he kept practicing his clarinet, the vibrations of his instrument would enhance his hair growth. “Here I am in Napoli in 1966, ” says Alan. “My friend Umberto and I played the Clarinet, and he claimed the practicing made your head vibrate and, perhaps, helped your hair grow like this.”

Alan Bern in 1966.

E. Writer/Poet Janet Uchendu thought it odd that an inordinate amount of ladybugs were turning up dead inside the office where she worked. Like most writers, she is a keen observer. Perhaps it was the end of their lifecycle, but why inside that particular office? So she stacked them up on the top edge. of her cubicle. But much to her surprise, no one else noticed.

Ladybug ladybug fly away home.

Thank you for playing the game. Don’t forget to follow this blog for news and announcements. It’s free. Just sign up. Coming up is the October 15th deadline to the Coold Turkey issue of Instant Noodles Literary Magazine. Prose submissions this time must be approximately less than 500 words and no more than two poems, if you are submitting in the poetry category.

Writing Poetry, Publishing Poetry. When and How to Share Your Work.

Photo by William Fortunato on Pexels.com

By Nadja Maril

For many decades, my poetry writing was a private pursuit. By limiting word selection and phrases to focus only on what really mattered, poetry served to capture my observations and innermost thoughts and months later I could revisit those thoughts and perhaps develop them into a story or essay.

On special occasions and for friends, I would write poems, but these were personal gifts.

It wasn’t that I hadn’t thought about sending poems out to be published. I’d had some “Beginner’s Luck” in college and had a few poems published in a small local magazine, but when I started sending poetry to national publications, all I received were rejections. The pre-printed rejection forms were too painful to read. I packed away my poetry manuscripts and kept my poetry to myself.

I could consider myself in good company. After her death in 1886, Emily Dickinson’s family found 1800 unpublished poems compiled into booklets, amongst her things. The very first volume of Emily Dickinson poetry was published in 1890.

Statistically, the majority of literary magazines publishing poetry only accept approximately three percent of the poems they receive for consideration.

Photo by Ron Lach on Pexels.com

Old Scratch Press Collective member and published poet Virginia Watts says, “I consider myself more of a prose writer who turns to poetry to express creatively in a less structured way.” She has been writing poetry for over sixteen years.

“I believe it is very important for those new to poetry,” Virginia says, “to learn as much as they can about the craft of writing. For poetry, that means taking as many classes at locale universities as you can, attending workshops and getaways where a person can study traditional forms of poetry such sonnets, pastoral poetry, haiku, ode. Try your hand at these. Learn about meter and rhyme scheme, enjambment, alliteration, and so on. The more you know about poetry the better it is for finding your unique voice and style as a poet.”

So, what made me decide years later to send a few poems out for publication consideration? I realized that perhaps the short flash pieces of prose I’d successfully published might be considered by some to be prose poems. I decided to challenge myself to revisit other poem forms I’d tried in the past and be brave.

Virginia says, “When I select poems to submit, I generally give my poems some time to sit on the backburner without me. When I return to them a few months later, I can see where final revisions are needed. I submit a batch of poems that reflect where my poetry is at the moment. That simply means ideas that came to me that I couldn’t shake until I had written them down.”

 “Read poetry.” says Virginia Watts, “Listen to poets read their work. When you are ready join a poetry workshop where other poets will read and offer honest suggestions for editing your work.”

So here comes the tricky part, if you decide to start submitting to publications. 1) Read as many literary publications that publish poetry as you can. If you like what they publish and you think your work would be a good fit, submit your best. 2) To find data bases of publications check out Poets and Writers, Duotrope, Chill Subs, and Submittable. Some publications charge submission fees and some don’t. Take into account how many writers statistically they are known to reject and keep that in mind when you submit. 3) Keep good records with dates of submissions, responses, and any feedback. While most rejections are form letters, some will invite you to waive the waiting period for resubmission or even in rare instances invite you to re-submit with revisions. 4) Expect to submit as many as thirty times before you achieve success, depending on where you are sending your work. Good luck and if you are over forty and have poetry that fits the current theme, check out our sister publication ( published by Devil’s Party Press) Instant Noodles Literary Magazine.

Thank you for reading and don’t forget to sign up to follow this blog for more useful writer’s tips and information. We love hearing from our readers. Let us know what you want to know more about.

The Power of the Short Poem

Gabby Gilliam, a fellow member of the collective who like myself lives in the Greater Washington D.C. region which encompasses Northern Virginia and Maryland, recently posted a link on social media about the Second Annual Short Poem  Edition just published by the nonprofit Washington Writers Publishing House.

The three-line poems posted, immediately drew my attention and got me to thinking about the power of short poetry. Gabby will be the guest poetry editor for the Winter “Cooold Turkey” themed issue of the literary magazine Instant Noodles. Get more information here.

Photo by Khoa Vu00f5 on Pexels.com

Below are two of my favorite short poems. One is Quiet Girl by Langston Hughes and the other is a haiku by Matsuo Basho,

Quiet Girl

By Langston Hughes (1901-1967)

I would liken you
To a night without stars
Were it not for your eyes.
I would liken you
To a sleep without dreams
Were it not for your songs.

Photo by Damir Mijailovic on Pexels.com

In the Twilight Rain

By Matsuo Basho

(1644-1694)

In the twilight rain

These brilliant-hued hibiscus-

A lovely sunset

Short poetry has power. Thank you for reading and if you’d like to share a favorite short poem, please send it in via “comments.” Remember to also follow the Old Scratch Press Facebook page and check out what people are saying about our first book release A Break in the Field by Ellis Elliot.

Publishing Opportunity for Poets and Prose Writers. Old Scratch to curate Instant Noodles.

DID YOU KNOW….

Instant Noodles is on online literary magazine. Part of the Devil’s Party Press family, Instant Noodles is the opportunity that brought the majority of the authors to Old Scratch Press. It is ALWAYS free to read, and free to submit to.

DID YOU KNOW….

Instant Noodles has its own website now? https://instantnoodleslitmag.com Bookmark it!

DID YOU KNOW…

Old Scratch Press is curating the December 2023 issue? The theme for the December edition is “Cooold Turkey.”

Please take note, we’re shortening our word count. Can you take the challenge and keep it brief by making every word count? For our Winter issue we’re asking our writers to limit their poetry submissions to 2 poems (up to a combined total of 500 words). Prose writers, we’ll be only publishing work that is 500 words or less. (If you need to finish a sentence, we’ll cut you a little slack). Remember, we only publish writers over the age of forty and it’s important to submit work that is somehow related to the theme.  Guest Editors for the Winter issue include: GABBY GILLIAM: Poetry, R.DAVID FULCHER: Fiction, ALAN BERN and DIANNE PEARCE: Art, and NADJA MARIL: Memoir/Creative Nonfiction.

The issue opens for submissions August 15, 2023. Submissions close on October 15th.

You can submit here!

IN CONVERSATION

NM: In your notes about the book, you mention wanting initially to tell the story of Jonah and the Whale. How do you see that story relating to the plotline of Hibernaculum?

AD: The Jonah story has always held a particular fascination for me. Both the Christian and the Islamic versions are so rich in symbolism and psychological truths that I could go on writing about them and never get bored (though the reader probably would). Hibernaculum was originally intended as part of a triptych called Three Jonahs. The other installments are a recently-finished novel called Jestor, and a poetry chapbook called Jonah’s Map of the Whale (which is currently with Old Scratch Press).  Each work explores the Jonah story from a different angle. In Hibernaculum, I imagined the process of hibernation and the hibernaculum dome itself as a “whale” that swallows the sleeper. Instead of  3 days, this descent into the underworld lasts 3 months or more.  Jonah had plotted his course: he was going to board a ship at Joppa Port and sail away to Tarshish (Gibraltar). That was his plan, but it wasn’t the right one (he was supposed to go to the city of Nineveh). We have our plan, our course, collectively and individually, and it doesn’t seem to be the right one either, and sooner or later we’re going to be tipped out of our own boat and forced to reconsider. That’s what Hibernaculum is about: a society forced to reconsider its “course”. 

Read the rest of the interview at Atticus Books!

Favorite Poem Series Continues with Emily Dickinson

By Ellis Elliot

When Old Scratch Poetry Collective Members were asked to write about a favorite poem, I knew my choice would be my first poem love affair. Before this poem, which I was introduced to in college, I had a healthy love of words, and a newfound interest in poetry, but it was more about my intrigue with the craft of it. I liked learning how things like rhyme and meter, form and pattern, didn’t need to hit you over the head. The tools of poetry were more like puzzle pieces that you both created, took apart, then put together again. But then came Emily.

Ample Make This Bed

by Emily Dickinson

Ample make this bed.
Make this bed with awe;
In it wait till judgment break
Excellent and fair.

Be its mattress straight,
Be its pillow round;
Let no sunrise’ yellow noise
Interrupt this ground.

I can’t explain exactly what alchemical combination occurred to cause me to fall for this particular poem by Emily Dickinson. I know it had to do mostly with the way the lines, “Let no sunrise’ yellow noise/Interrupt this ground” made me feel. I was blown away by two lines. The image of the “noise” of a sunrise, the choice of the word “interrupt”, the idea of this sacred “ground”. All of it. Who knows how or why such a thing speaks to you?

Much like falling in love, the factors that come together to create the feeling are a mystery. I know it was a combination of the known entity of craft mixed with the necessary ingredient of emotion. I had no need to do a critical exorcism of the poem, or analyze each syllable in every word, to know how the poem made me feel.

Dickinson scholar Marta Warner says that “she (Dickinson) is a constant summons to think about language and its preciseness. And not only its preciseness, but its power”. Dickinson was prolific, writing over 1800 poems, and while her image is as a recluse, she was actually quite social in her younger years. She lived in the mid-1800’s, and her poetry was practically unknown during her lifetime. It certainly was not a time of female literary empowerment (has that happened yet?). Dickinson would go on to become a “beacon of verbal power”, and I know her light certainly led me to a lifelong love of poetry.

***

Old Scratch Press is delighted to be publishing Ellis’s first chapbook, a collection of poems entitled A Break in the Field. In her poetic statement about herself on her Bewilderness Writing website, Ellis says,

“I am a perennial student of nature, inner realms, and the wisdom of the body, and write to bear witness and disentangle the world as I perceive it.”

Approximately fifty pages in length, the poems in A Break in the Field grapple with the concept of how human perception can change, depending on the vantage point. You can pre-order the book by clicking on the link in the previous sentence.

ABOUT THE AUTHOR:

Ellis Elliott is a writer, ballet teacher, and facilitator of online writing groups called Bewilderness Writing. She has a blended family of six grown sons and splits her time between Juno Beach, FL., and the mountains of Crozet, VA. She has an MFA from Queens University, is a contributing writer for the Southern Review of Books, and an editor/workshop teacher for The Dewdrop contemplative journal. She has been published in Signal Mountain Review, Ignation Literary Magazine, Literary Mama, OPEN: Journal of Arts and Letter, Plainsongs Poetry Magazine/Award Poem, Sierra Nevada Review, Women of Appalachia Project Anthology, Delmarva Review, The Rail, Spotlong Review, Euphony Journal, and others. 

ROBERT FLEMING Shortlisted for Blood Rag 2023 Poet of the Year!

Old Scratch Press (OSP) is pleased to announce that our contributing editor Robert Fleming is one of just six poets who were short-listed for 2023 the Blood Rag Poet of the Year and we couldn’t be prouder.

In Blood Rag Editor Matt Wall’s audio blog, three of Robert’s poems, previously published in the Blood Rag, were featured

Ep. 86: Blood Rag Poet of the Year Shortlist P.1 featuring Richard Fleming, Bunny Wilde & Rich Boucher|I Hate Matt Wall Poetry Podcast – Matt Wall

 And for your reading pleasure, here is one of Robert’s published poems.

Included in Issue #8 of Blood Rag
6-word flash fiction
 

Madame chopstick walker trips on kabuki.

Melt Marilyn Monroe into a pizza.

The hungry poisoner fed a pear.

Praying the tea will be strong.

I unbrick to Annabel Lee’s silence.

Five bullets left in the barrel.

My vocal cords speak for silence.

Matt Wall says: “I like how weird and strange Robert is; he describes himself as a word-artist; Robert is out there, not what others are doing; unique voice distinct as shit.

Robert’s upcoming visual poetry chapbook, White Noir, will be published by Devil’s Party Press’ Old Scratch Press this year, so check back here for the exact release date.

In the meantime, you may want to check out Robert’s 12-page poetry chapbook, Con-Way, a tribute to P.T. Barnum, published 7/9/2023 as part of Four Feathers Press: 4 in 1 November, 2023.

Please contact Robert if you’d like to buy the chapbook: https://www.facebook.com/robert.fleming.5030/

Robert is grateful to publishers who promote their writers by nominating them for awards. He’d like to thank: Matt Wall of the Blood Rag 

Dianne Pearce and David Yurkovich of Devil’s Party Press 

Failbetter, a journal of literature and art

Volume 8 — Ethel (ethelzine.com)

Lothlorien Poetry Journal

You too can support poets and writers by 1) commenting on the work you admire when you read it online 2) purchasing their books and supporting the publications where their work is featured 3) Contacting editors and publishers directly to suggest nominations for various awards 4) Voting, when you are able, if awards ask for reader participation. THANK YOU.

A Favorite Poem and Thoughts on Metaphors

Our series on “Favorite Poems” and why we think about them over and over again, continues with a post by Contributing Editor Virginia Watts.

Perhaps the World Ends Here

by Joy Harjo

The world begins at a kitchen table. No matter what, we must eat to live.

The gifts of earth are brought and prepared, set on the table. So it has been since creation,
     and it will go on.

We chase chickens or dogs away from it. Babies teethe at the corners. They scrape their
     knees under it.

It is here that children are given instructions on what it means to be human. We make
     men at it, we make women.

At this table we gossip, recall enemies and the ghosts of lovers.

Our dreams drink coffee with us as they put their arms around our children. They laugh
     with us at our poor falling-down selves and as we put ourselves back together once
     again at the table.

This table has been a house in the rain, an umbrella in the sun.

Wars have begun and ended at this table. It is a place to hide in the shadow of terror.
     A place to celebrate the terrible victory.

We have given birth on this table, and have prepared our parents for burial here.

At this table we sing with joy, with sorrow. We pray of suffering and remorse. We give
     thanks.

Perhaps the world will end at the kitchen table, while we are laughing and crying, eating
     of the last sweet bite.


I love this poem because as much as the kitchen table is metaphor, it is not. I remember both of my grandmother’s kitchen tables, one had a well-worn aquamarine Formica top and the other was round and oak.

I remember the things I ate there, tea sandwiches, lemon sponge pie, fresh caught rainbow trout from the mountain creek tumbling by. I remember the smell of coffee. I remember listening to the adults, learning about life.

The table in Harjo’s poem can be seen as a metaphor for a human lifetime. Within it, childhood, adulthood, love, births, old age, war, joy, sorrow, death. Throughout what it means to live a human life we can always return to the feeling a being surrounded by those who nurture us, believe in us, where we were shaped and where we dreamed. We are never alone at this table and if you think about it, our kitchen table is with us always.

Do you have a favorite poem you’d like to share? We’d be happy to publish your comments here. Part of the mission of Old Scratch Press is to promote the love of poetry.

Poetry Practice:

Twice a week, says Virginia Watts, I listen to the podcast Poetry Unbound where Irish poet Padraig O Tuama unpacks one poem in his uniquely contemplative, conversational, kind and down to earth way. Each podcast is less than fifteen minutes. Like his recent book “50 Poems to Open Your World” his podcast opens hearts and minds to poems and poets from around the world. It feels like an invaluable gift each and every time I listen.

Don’t forget to follow us on Facebook and Twitter.

How One Poem Can Touch Our Lives

Philip Levine, courtesy of the National Poetry Foundation

When Nadja Maril, who manages the posts of OSP, asked us each to write about our favorite poem, this was the one that came to my mind, immediately, as it so often does whenever I want to teach anyone about poetry, or whenever I think of a poem that I love.

What’s Your Favorite Poem?

Philip Levine is a very famous and celebrated poet, and he was also Jewish, which is why it matters, in this poem that the speaker’s brother is using his talent as an opera singer to sing operas by Wagner, who was loved by Hitler.

And so Levine uses this poem to tease out the thorniness of family connections.

And though I have spent the majority of my adult life college-educated and in jobs that would be called white collar, they have almost universally been shitty jobs, which means the pay was low, the hours long, the expectations high: over-supervised, under-appreciated, crap work. And my non-degree-requiring jobs were pretty shitty too: the restaurant owner was a drunk when I was a waitress, the lamp store owner liked to see me crawling on the floor, picking staples out of the thickly-woven carpet to save the upright vacuum cleaner, and the mall store manager wouldn’t let us leave until every item on his list was checked, even though it meant I missed the last trolly, and had to walk the tracks home alone and late at night. Crap jobs abound in my history.

The men who people Levine’s poem also do crap jobs. The brother, at least, is trying to wring some joy from his life, but he does it through singing Wagner, which confounds and hurts his brother.

What I like about this is how it is a pretty good example of the “what” of poetry. What is poetry trying to do?

Levine could simply write it out: I love my brother but his choice of loves, recreation, music, confounds me and upsets me.

We’d all say, “I hear you man,” and we’d all go on with our lives, having heard him, but not “felt” him, or understood.

Better to put us in the rain, shifting foot to foot, to understand that the brother loves singing opera so much that he will slog through the shitty job for it, the humiliation of being told there is no work, the dependence, the lack of agency, all to be able to sing.

The speaker is standing in the rain, getting flooded, and feeling hopeless, and then he is flooded by the love he feels for his brother, a love which he feels from, perhaps, at last understanding how much singing means to his bother, and how much his brother, and the happiness of his brother, means to him: enough that he will do what it takes to love a brother who loves:

Wagner, the opera you hate most,
the worst music ever invented.

And how long has it been since he held his brother and told him he loved him? And how infinite do we all think life is?

My brother died suddenly and unexpectedly during lockdown, and I was not able to see him for all of the eight or so hours I knew he was dying, and I don’t know that I’ll ever get over it. Our time together is not infinite; my love for my brother was, but he tried that bond many times and in many ways, and don’t we all do that to our siblings?

Levine writes in free verse, and uses enjambment frequently, and so do I. I like the closeness and intimacy of free verse, and I like the way enjambment will not let you walk away: it pulls you to the next line. I like how simple Levine is too: this is a poem almost everyone can understand and be moved by. That is Democracy in action right there. That is inclusiveness. We can all get in on this poem. We can all find a little hand-hold.

And mostly I like how this poem, long before my brother was even ill, always flooded me with love for him, and my sister, every time I read it, and made me consider the ways in which we are like cacti for hugging with our family, when we may be like cashmere with everyone else. And if you don’t know this, and you haven’t done the work to hug the cacti anyway,

then you

don’t know

what work is.

Thanks for enjoying Phil with me~

Dianne Pearce

INDIE PUBLISHER DEVIL PARTY PRESS LAUNCHES NEW IMPRINT

IN THE NEWS

Old Scratch Press will feature original chapbooks and short-form prose

For Immediate Release

June 15, 2023 – Los Angeles: Devil’s Party Press of Los Angeles announced the launch of a new publishing imprint, Old Scratch Press. This new imprint, based in southern Delaware, will produce quality chapbooks that feature poetry and short-form prose by leading authors.

Supporting this endeavor will be ten contributing editors, members of the Old Scratch Press Short-Form Prose and Poetry Collective: poets and writers Alan Bern, Anthony Doyle, Ellis Elliott, Robert Fleming. R. David Fulcher, Gabby Gilliam, Morgan Golladay, Nadja Maril, Dianne Pearce, Janet Holmes Uchendu, and Virginia Watts who will work together to help promote the love of poems and short form prose.

Old Scratch Press’ inaugural publication is Break in the Field, a collection of verse by award-winning poet, Ellis Elliott. Ms. Elliott is a contributing writer for the Southern Review of Books, an editor/workshop teacher for The Dewdrop, and facilitator of the Bewilderness Writing Workshops. Her publishing credits include Signal Mountain Review, Ignation Literary Magazine, and Literary Mama.

Break in the Field addresses how human perception can change, depending on the vantage point. “I am a perennial student of nature, inner realms, and the wisdom of the body,” says Elliott, “and I write to bear witness and disentangle the world as I perceive it.” Break in the Field will be available in mid-July 2023.

November 2023 will see the publication of White Noir, a chapbook by Robert Fleming. White Noir is a black and white visual poetry exploration of human birth to death and beyond on Earth. A prize-winning poet who explores masculinity, sexual orientation, sin and virtue, and dystopia in words and graphics, Fleming is a self-described word-artist whose work has been published internationally in more than 95 print and online publications, and has appeared in art galleries and in online mic features. “The vibe is dark, Goethe, and dystopian, but I lighten it up by including humor, and it offers a hopeful ending,” notes Fleming of his upcoming collection.

Beginning in 2024, Old Scratch Press will produce three or more original titles per year, available in both print and Ebook formats. For more information visit oldscratchpress.com and devilspartypress.com.

About Devil’s Party Press
Devil’s Party Press, LLC, an independent publishing house located in Los Angeles, was founded in 2017 by Dianne Pearce, an award-winning author, editor, and publisher. The mission of Devil’s Party is to help showcase the work of unsung authors over 40 years of age. Devil’s Party publishes literary fiction while its four imprints are genre specific: Gravelight Press (horror), Hawkshaw Press (crime/cozy), Out-of-This-World Press (sci-fi), and Old Scratch Press (poetry). To date, Devil’s Party and its imprints have published over 200 authors internationally. In addition to print publications, Devil’s Party produces the award-winning online literary magazine, Instant Noodles