SALUD
Selected Writings
By Curt Johnson
216 Pages
Price: $15.00
Cross & Roads Press
P.O. Box 33
Ellison Bay, WI 54210
www.bleidoorcountytimes.com
ISBN: 0-889460-16-8
Review/Interview By: Charles P. Ries
Word Count: 532
This Review First Appeared In: Free Verse
SALUD is a homage to Curt Johnson by his dear friend and small
press institution, Norb Blei. This is the 27th publication from Blei’s,
Cross + Roads Press. Blei says, “When a writer reaches the point of
Selected Works in his life, a definite benchmark has been achieved.
You stand by your words. What you’ve penned you are. This could not
be more true then in the life and work of Curt Johnson, short story
artist, novelist, essayist, critic, and one of the best yet, least
celebrated writers and publisher (december magazine and december
press) coming out of the heartland.”
Through SALUD, Blei gives us a sampling of Johnson’s work: novel
excerpts, essays, articles, and memoirs. The challenge here is
condensing the works of a writer who wrote so broadly and in so
many forms. I often felt like I was getting only the first course – a
taste. But this is want Blei intended to do; tempt us with Johnson’s
work and encourage us to seek it out.
This book is both a literary experience and a history of the small
independent press. Johnson who is now in his 80’s, was editor of the
highly regarded december magazine in the early 60s. He was one of
the first to publish the works of Raymond Carver, Joyce Carol Oates,
Bukowski, and Ted Kooser, to name only a few who have gone onto
popular acclaim. But Johnson also published the work of many
writers who never hit it big, or at all. Johnson and Blei are two of
the patron saints of the small press. They have been in it and doing
it for over 50 years. They do it as much to give new writers a place
to shine, a chance to be heard, as much as for any glory they may
receive.
I found the interview between Johnson and Blei that concludes
SALUD a delight - a history lesson and look inside the head of two
small press pioneers. Blei says in the interview, “Curt have you, one
of the Granddaddies of independent publishers in America , ever
been invited to read your work and/or discuss the role of the
independent presses in academia? Northwestern University? The
University of Illinois (Johnson has lived his life in Chicago ). And
Johnson replies, “I don’t think the academy and its creative writing
courses are of much use to the real writer. And I don’t think the safe
haven the academy provides established writers does their own
writing much good either.”
For those of us active in the independent small press this book is a
must read. How can we know that we are innovating if we don’t
know what has come before us? But even more, SALUD is a morality
tale that has been told again and again by yet another talented,
prolific writer sitting at linoleum kitchen table at 11:00 a.m., having
a coffee and a shot of whiskey with a fellow writer and friend
reflecting on the old days, lamenting the fact he never quite hit it
big, but not willing to change one thing about his journey, the books
he wrote, the people he met, or the writers he helped along the way.
________________________________________________________________
ČERVENA BARVA PRESS
Gloria M indock, Editor
P.O. Box 440357
W. Somerville, M A 02144-3222
www.cervenabarvapress.com
By: Charles P. Ries
Word Count: 1,013
This Review First Appeared In: PRESA
What do you suppose is in the water in Somerville ? Small press
publishers are popping up all over the place: Ibbetson Street Press,
sunny outside press and now, Červená Barva Press. M aybe we
should all drink some of that Somerville prose juice as it appears to
be poetry fortified.
Gloria M indock founded Červená Barva Press in April 2005, since
that time she has published and designed ten chapbooks, three e-
books, and twenty-one poetry postcards. Forthcoming in 2007 are
four more chapbooks, four full-length poetry books, as well as two
plays and fourteen poetry postcards by fourteen poets using
paintings by Nancy M itchell. Oh, and she also publishes a monthly
electronic newsletter which lists readings from all over the world as
well as interviews with authors. I asked Gloria how it all began, “I
started this press because of my passion for poetry. I edited the
Boston Literary Review (BluR) for 10 years, and I read high-quality
submissions during that period. Since the magazine ceased
circulation, I have spent many years freelance writing, but see a
need for a new publishing forum. This led me to take it a step further
and expand into publishing. I wanted to provide another outlet for
writers who take risks, have a strong voice, and are unique.
Eventually I will publish more writing from different countries,
particularly authors from Eastern Europe . There are so many
wonderful writers in this world and I want to give them more
exposure.” Mindock’s fascination with Eastern Europe, and
especially Prague , prompted her to name her press Červená Barva
which means the “red color” in Czech.
As the following short poetry reviews will note, M indock has a wide
range of tastes and inclinations when it comes to the writers she
chooses to publish:
The Whole Enchilada
By: Ed M iller
Wonderful! If this is M iller’s first chap book – I want to put in an
advance order on the next ten. I loved “Dear Poet” and
“Extraterrestrials Use Holographic Imagery Of Naked Females”. How
glorious to read a wry sense of humor who is capable of creating
such endless possibilities.
God Of The Jellyfish
By: Lucille Lang Day
We need more poets with M .A.’s in zoology and Ph.D.’s in science
and math education, or we will never discover the metaphoric limits
of the ocean, stars and universe. Oh, and Lucille Lang Day also has a
M .A. in English and M .F.A. in creative writing. She will never run
out of material given the galaxies she has chosen to examine. She
does a wonderful job making this collision of science, the cosmic,
and the day-to-day work.
Of All The M eals I Had Before:
Poems About Food and Eating
By: Doug Holder
This collection of poetry may well elevate food above sex as one of
life’s two great pleasures. Holder writes in the spare precise style
he is known for. No extras – all meat and potatoes. These are highly
descriptive, ambient poems of place and person. I was surprised at
how well Holder pulled this collection off.
Gothic Calligraphy
By: Flavia Cosma
Mindock says her favorite writers come from Eastern Europe . As I
read this delicious and somber Romanian born Canadian poet, it is
easy to see why. Cosma uses nature as a backdrop and foundation
for her poetry. She is a Richard Wilber Poetry in Translation winner
for her book of poetry 47 POE M S. One has to wonder if being born
speaking Slavic gives a poet the upper hand when painting silk on
water.
Bilingual Poems
By: Richard Kostelanetz
I had to work hard to get through Kostelanetz’s work – esoteric word
art more than poetry. Begging the question, where does poetry end
and visual art begin? Scrabble meets Einstein. Bilingual Poems is on
one level a series of two dimensional M andalas, and on another, a
series of Gideon knots. Kostelanetz says that his goal is “to be the
most inventive poet ever in American Literature.” He just might do
it, but will people read it?
W Is For War
By: George Held
It is hard to create metaphor or image equal to combat. War is
horror – how can words ever come close to mirroring moments of
such suffering and fear? I give George Held credit for trying and
doing such a good job at it. His poem, “From Nam to Armageddon” is
a great piece of work. One of the most complete war poems I have
ever read.
Fishing In Green Waters
By: Judy Ray
These are effortless poems that spin between here and now using
both conversational and lyrical language. Judy Ray lavishes
description around the subjects of her observations that are often
common in their nature, but elevates their substance with her gentle
compassion. Her poems, “Anonymous Valentines” and “Sometimes”
are wonderful works. About this Fishing In Green Waters, Judy Ray
says, “This new collection is more elusive in theme, and maybe more
mysterious for that reason. Several of the poems refer to those
sparks of excitement which come from recognition of some moment
of transient beauty, or a small gesture which speaks for a historic
moment.” This is work by a very fine, skilled, steady hand
I asked M indock about her background and influences and she said,
“ My mother always painted, and poetry was always around me. I
always had that artistic background. M y dad taught 7th and 8th
grade English. There are a lot of artists in my family. M y sister is a
musicologist. M y parents are my biggest influence.”
Doug Holder of Ibbetson Street says this about M indock, “Gloria has
long experience in the poetry biz. We call each other holy fools
because we are passionate about our work, and don't make a red
cent, like most of the holy fools in the small press. She puts out a
quality product and is a joy to deal with!” Doug is right, and we
poets are lucky to have holy fools who work for nothing, but the joy
it brings them.
____________________________________________________________________
BLUE RIBBONS
At the County Fair
By: Ellaraine Lockie
63 Pages / 34 Poems
Price: $10.00
PWJ Publishing
P.O. Box 238
Tehama, CA 96090
www.wellinghamjones.com
ISBN: 0-939221-45-4
Review/Interview By: Charles P. Ries
Word Count: 783
This Review First Appeared In: Chiron Review
Ellaraine Lockie once again walks the tight rope between poetry that
is accessible and ethereal - poetry that is at once plain spoken and
musical. The title for her most recent collection of poetry is
deceptively colloquial, Blue Ribbons at the County Fair, but her
poems travel a varied world taking us far beyond the confines of the
county fair. She uses a variety of technique and style to take us with
her. As in her past work, she tiptoes along the high-wire that can
separate the work of the academically trained and the self-taught
writers.
In her poem, “Lost Legacy,” we find her wonderful ability to use
alliteration with good effect. M oving us gently forward as she
reflects on her beloved M ontana, “Houses a hundred years old / with
Alzheimer’s / Abandoned in isolation wards / on western prairies //
Where homesteads were settled / on small town sanity brinks / M ine
long ago lost / to profit margins / on minimal M ontana farm //
Hospice where I come to heal / from city assaults / M y heart heavier
/ than the hard timber / turned driftwood soft.”
Lockie has received first place prizes for each poem in this
collection, and as Lockie explains in her essay at the conclusion of
the book, “And yes, some received blue ribbons at county fairs.” She
goes on to say, “When I began writing poetry, naturally I thrilled to
the idea of poetry contests. Not only are they fun and suspenseful,
but placing in them gives credibility to cover-letters, pays money
prizes or other honorariums and sometimes provides public reading
opportunities.” So in a sense Blue Ribbons at the County Fair is sort
of an Ellaraine Lockie Greatest Hits Collection. I especially enjoyed
her poems focusing on the topic of modern romance – of one sort or
another, such as in “The Other Woman”: “She shows signs of
jealousy / That slight smart of suspicion / Of course she would know
/ How a woman / can move in on a man / Hang her underwear / over
his philandering lines / Being a practiced poacher herself / An artist
in sculpting seduction”. And again in, “Silk Dreams”: “I told you
ahead of time / this affair / if it happened / wouldn’t be casual / But
here it is a few hours old / Already wearing sneakers / and a wrinkled
tee shirt / You say you will pass my way / when time permits / I say
the way has potholes / that require attention / M apped
maintenance.” “Defying Gravity” also covers this eternal landscape
with exceptional skill.
Lockie told me about her jump into poetry, “I previously had written
in other genres (and still do)--nonfiction, magazine articles and
children’s picture books. Nine years ago I had not read a poem since
high school, except for the occasional one I came across in children’
s literature. I thought I hated poetry; I thought it had to rhyme. Then
one day an old friend sent me some of his poems and wanted my
opinion. I liked them, but they didn’t rhyme. So I called my children’s
writing mentors for advice. When they told me about free verse, I
became obsessed with writing it and with getting it published. This
happened at a tough time in my life, and poetry became my
salvation. I just jumped in and started writing like crazy, unaware of
what other poets were writing. I entered the poems in contests
before submitting to editors, knowing that I needed something in
cover letters to entice editors into reading my work carefully.” If she
needed verification that she was on the right track, she certainly got
it.
What I enjoyed most about this collection is Lockie’s ability to use
language beautifully and yet have it remain accessible. I understood
her metaphors; I could relate to her stories and pictures. And while
her writing was accessible, it remained well developed and carefully
composed. There are only a few writers in the independent small
press who manage to walk this line and not fall in to the pit of
abstraction ( M ichael Kriesel and Gloria M indock are certainly two
who come to my mind). One wonders if as poets grow and extend
themselves that they must inevitably drift further away from the
common and push the art form, play with structure and elevate their
style of their writing? But it was a joy for me to settle into Lockie’s
recent collection and find no extraneous obstacles to my entering
her world or her meaning. As Lockie has grown as a poet she has
become more elegant about communicating common meaning.