The Mad Poets Blog

D.M. Ryer, Richard Moyer, and Lawrence Dugan

Hosted by Eileen M. D’Angelo
Featured readings followed by open mic

Delaware County Institute of Science
11 Veterans Square
Media, PA 19063

*See the full schedule for this series.

Wild River Review Magazine Reading

Hosted by Eileen M. D’Angelo
Featured readings followed by open mic

Delaware County Institute of Science
11 Veterans Square
Media, PA 19063

*See the full schedule for this series.

National Black Arts Spoken Word Tour:  Maurice Henderson, Executive Director

Hosted by Eileen M. D’Angelo
Featured readings followed by open mic

Delaware County Institute of Science
11 Veterans Square
Media, PA 19063

NY Poetry Forum:  Katherine Hogan & Fran Bolinder

Hosted by Eileen M. D’Angelo
Featured readings followed by open mic

Delaware County Institute of Science
11 Veterans Square
Media, PA 19063

*See the full schedule for this series.

Samantha Barrows & Glenn McLaughlin

Hosted by Eileen M. D’Angelo
Featured readings followed by open mic

Delaware County Institute of Science
11 Veterans Square
Media, PA 19063

To learn more about Samantha Barrow, check out her website or read her interview with G Emil Reutter.

W.D. Ehrhart & Jack Walters

Hosted by Autumn Konopka
Featured readings followed by open mic

Barnes & Noble, Bryn Mawr
720 Lancaster Ave.
Bryn Mawr, PA 19010
610-520-0355

Amy Ouzoonian is a Poet, Editor and Playwright from
New York City. She edited two critically acclaimed anthologies, “In The Arms Of Words- Poems for Disaster Relief” and “Skyscrapers, Taxis and Tampons”. Her first collection of poetry “Your Pill” was released by Foothills Publishing. She is the founder of Lock n’ Load Publishing and the editor of A Gathering of the Tribes Magazine. Amy Ouzoonian will be reading for the Mad Poets Society with Robyn Alter-Bielana and Ish Klein at The Last Word Bookshop on October 12^th. For more information on Ouzoonian please visit: http://www.locknloadpublishing.com/

THE INTERVIEW:

Q. You are an accomplished poet, editor and playwright; what is your passion?

A. Being inspired and inspiring others through the filters that I communicate with: music, writing and all forms of performance. 

Q. “In The Arms Of Words- Poems for Disaster Relief” is an anthology from poets around the world dedicated to raising funds for victims of natural disasters. This volume received great critical acclaim. As the editor of this volume, what challenges did you face?

A. Getting a publisher who would take the chance, then selecting the work from hundreds of submissions, and finally selling copies when it was finished. It is still challenging, especially because there are so many other important issues going on that have little to do with natural disaster. The biggest disaster now is the war in Iraq and it’s strange to think that although man does have control over this disaster, our President isn’t taking action to help the Iraqis and U.S. soldiers; the victims of the war in Iraq. 

Q. Much has been said of your performance style when reading your poetry. Where did you first read and who were your major influences in developing your style?

A. I first read poetry at Creations Coffeehouse in New Paltz, NY. That was twelve years ago. There is now an Indian restaurant where the café used to be. I developed my style from listening to poets who were reading at that time. One of my mentors, during that time, Brett Axel, affected my presentation greatly. I learned how to read the poems by listening to myself read them as they were written. The poems knew how they wanted to be presented; I just helped the process along. 

Q. As the editor of “A Gathering of the Tribes” you have come into contact with many poets, as well as traveling the poetry circuit. Who are favorite poets that are active today?

A. Of the ones who are active today, I would have to say that Janine Pommy Vega, Anne Waldman, Steve Dalachinsky, David Mills, Carolyn Forche, and Ruth Stone are my greatest influences.

Q. Foothills Publishing released your first collection of poetry entitled “Your Pill”. How did you develop the collection and do you have any favorites from the collection?

A. The collection had been coming together for about 5 years. I can’t really say how it came together, I fiddled with a few titles for it and the collection was an amalgam of many poems that reflected different times in my writing. The manuscript didn’t have a set intension in the beginning. I guess my favorite from the collection would have to be You Ask Me How Vietnam Changed My Father. 

Q. How would you describe yourself as a poet?

A. A work in progress.

Q. Do you have any new projects in the works?

A. Yes. 

Q. In October you will be reading for the Mad Poets Society in Philadelphia. What should those who attend expect?

A. I will be smelling of autumn leaves and trying to still get away with wearing sandals and as little as possible. As for hearing me read, I hope they have a good time.

As I was reading G Emil’s most excellent interview with Samantha Barrow, I noticed the events calendar in my periphery and that it erroneously reads “No Events.”   This is my fault.  A few weeks ago I started a really exciting new job, and the pace has been pretty nutty.   I’m almost settled in.  I’d like to promise that I’ll update the events calendar this weekend, but in case I don’t, rest assured there are events.  Just check out the Mad Poets’ main page.  Pick a series, any series (right there in the left hand menu), and you’re likely to find a Mad Poets event coming up in a matter of days.

Thanks for your patience.

Samantha Barrow, a traveling poet based out of Philadelphia will read with Glen McLaughlin on May 17 at The Delaware County Institute of Science-7pm in Media, Pa. Barrows has published three books, conducts workshops and tours reading her works. To learn more about Samantha Barrow please visit: http://www.samanthabarrow.com/

THE INTERVIEW:

Q. You have traveled cross country twice reading your works at various venues. Steinbeck also traveled cross country writing “Travels with Charley”. He wrote of the changing landscape at that time in America and the blending of unique cultures into one. What was your impression of the landscape of America during your travels?

I think there should be color coded maps that accompany your Rand McNally that zone according to the regions where you can smoke inside, where vegetarian food is available, and perhaps swath in a lovely sea foam green the places where you can smell sage or sweet grass, like Nebraska and Montana, some parts of TX.    

Q. There are not many poets who would be comfortable reading their poetry in Biker Bars and at The Kelly Writers House. What do you attribute your appeal to both working class folks and academics?

I’ve been a waitress off and on since I was 14.  Getting paid to market a dish to people you don’t instantly like and who don’t instantly like you either teaches you to put a lot of effort into charm and to take a lot of shit.  I am funny on stage and people can understand what I am trying to say.  A lot of our population hates poetry because they “don’t understand it”.  Its insulting to be confused by a language that you are otherwise the master of in your daily life by people who are supposed experts.  I make sure to put enough out there (both in my persona and in my poems) that will connect emotionally with my audiences.  I give them a reason to want to connect back, while I am also offering more challenging thoughts, ideas and aesthetics. I am obviously passionate about what I do, and am engaged in an activity that scares the shit out of me.  I think people relate to my vulnerability.  It’s obvious I am not armored, but I am doing it anyway.  And usually laughing at myself about it.   But also I care about / get turned on by / feel humbled at the sound of words.  When a line sinks down that is impeccable, where every word earns its keep on the page, where the sound of the vowels and consonants and the number of syllables equal the emotional color value of what is being said, when meaning just keeps pouring from that one line the way stars blossom from behind your eyelids when you press your eyeballs back into their sockets with your finger tips, I am in awe.  And I believe to witness another human being in awe is compelling.  

 Q. There is a lot of “buzz” regarding your workshops. What are your goals for the workshop and the benefit for those who attend?

What’s the buzz? Is that a good thing?
People often ask me why I put sexual trauma and erotic joy in the same
thought / workshop whatever – as if it was my idea.  Some humans have
orgasms while they are being raped.  Other people never cum again –
no matter how safe / loving / healthy their sexual situation is.  Our body
memory can’t neatly compartmentalize these things, especially since
sex is about loosing control, connecting to parts of our skins and souls that
are too gigantic to name in civilized fashions.
When violence is done to our bodies or our erotic imaginations, (which
is both a personal and societal epidemic), we need to heal ourselves by
using them properly again.   But sexuality, physical and otherwise, is wild,
unwieldy, misbehaving stuff.  It gets angry when its not supposed to,
responds to people it should rationally hate, can’t take itself
seriously, is ashamed of its rompy desire, and is always a disappointment to the
icon of the perfect victim.   I like to co-create safe places where expression
of all the fucked up connections, self hatreds, shameful desires, and
strange appetites are normalized.  Writing is a tool to do that.  It is
powerful to be alone on the page with yourself in communion with others
where you don’t have to explain or justify yourself to anybody. 
There is lots of time to share our writings, but no one is forced to. Ever. And
the result is that individuals get boosted when others in the circle get free
of some shame or share a little joy.
 

 Q. Have your New England roots coupled with living in Philadelphia influenced your writing and presentation style?

Yes.  I think spring is something you earn by living through the darkness and snow, and sarcasm is almost always appropriate.  Philly is a warm sloppy friendly violent dirty city.     Q. What poets do you consider to be a major influence on you?

Q. Lauren Begnaud wrote of your poetry, “Barrow crafts her words honestly, unabashedly, and without shame.” Do you believe poets who write in this manner could cause a revival of poetry in the United States similar to that which has occurred in Europe?

1. It is an erroneous assertion that I craft “shamelessly.” I am constantly riddled with shame, although I am honest.  I like what she said about “Her voice is that of a woman who has the ability to make the intangible become tangible right before our very eyes” though. And I am grateful to her for reviewing my book.  Georgia O’Keefe wrote “I’m frightened all the time . . . scared to death. But I’ve never let it stop me. Never!”  I can’t say I’ve never let fear stop me, but I like the sentiment.  It is a realistic view of the process of doing things we care about.  Anything that is important is scary.  But as Audre Lorde said, “When I use my strength in the service of my vision, it matters less and less whether I am afraid.” 2. I don’t know what you’re talking about in Europe, but I know there are a lot of exciting things happening in
America that have to do with poetry today.  

 Q. How is your’84 Honda Shadow holding up and will you ever switch to a Harley?

Lavalee died August 23^rd, 2002. See page 84 of GRIT and tender membrane ($13.95 www.planbpress.com ) I’ve been riding Baby, a 2002 midnight purple VStar 650 since then. I wonder sometimes about the 9 miles she got worn before I got her.And as for “will you ever switch to a Harley?” I think there is more to be said for the fact that you (and everybody else) asks that question. I’m thirty one. How am I supposed to know what I’ll do when I double that? A sweet ride is a sweet ride, but for now, all I know is Harleys cost more, especially if you don’t know how to fix them yourself.  

Q. On May 17^th you will be reading for the Mad Poets at the Institute of Science. What should those in attendance expect?

To buy my book. I am unemployed. 

Q. Why are you a poet?

Aw Jesus.  .  . It legitimizes talking to myself and getting impatient about other people not listening.  I like feeling understood.  I like being alone yet feeling connected to the potential of being witnessed in a way I have artful control over.  It is a political tool, a spreader of news, a redefiner of reality.  An insistence that CBS etc doesn’t have the final say.  It’s a way of communicating our beauty and collective strength in struggle. Its a blood line to god.  It’s a good excuse to take naps. Where else would I put our magic stories

Every writer experiences their share of block, and I bet if you talk to 10 writers, you’ll get 10 different explanations of how it happens.  For me, usually, I can’t write a dang thing when the block hits.  No.Thing.  It’s crappy.

Tonight, though, I hit a different kind of wall.  I was outside playing with my son when an idea for a poem hit.  Fortunately he wanted a break from me, so I let him play with his new Lightning McQueen toy while I scrambled off to find some paper.  I scribbled out the first draft of the poem - the initial idea (which was something like two lines) led naturally on to the next idea, and the next and the next, until I had a full first draft.   After putting the little monster to bed, I transferred the poem from my notes to my laptop, and did a bit of editing.

And now I’m looking at the poem and thinking, “Damn. This sounds just like this other poem I wrote.  And that other poem I wrote.  And a little like that one, too.”  I have four poems that have the same pacing, the same rhythms, the same voice.  I know each writer develops a voice, and I have my own.  The problem is that these poems are slightly different than what I’ve been writing for the past few years - they’re not the carefully paced and stanzaed poems I’ve been laboring over.  They’re a bit breathless, a bit looser,  a bit more informal and conversational.

The four poems span a pretty good range of topics: a walk with my son, a hate crime, a sexual assault and being on the receiving end of inconvenient news.  But I’m worried that’s not enough - is a difference in topic alone enough to make the poems successful instead of derivative? Is similarity in voice and rhythm enough to doom a set of poems to failure?

Perhaps I’m being a little melodramatic here.  I’m just a little worried that the poems will seem unoriginal and uninspired.

So what do you think - when you’re reading a collection by a poet and you come across several poems in the collection that are reminiscent of each other in voice and style, are you put off? And do you find this happening in your own writing?