New poetry, interviews, reviews and
a spunky editorial! featuring
POESY updates, poems, reviews, a spunky editorial and more...
This issue features an interview by Doug Holder with Boston's own Jeff
Robinson from the famed Jeff Robinson Trio! A jazz ensemble who has wed
poetry and jazz backing poets such as Amari Baraka and thousands of others!!
Doug digs deep into a sea of mixed media to explore the reason why artists
need to work together to move forward as one conglomerate!
I got a chance to converse with the man orchestrating the small press with
this mystery man's wicked ways: T.KILGORE SPLAKE. Who also mixes it up with
a passion taking him to new heights with adding the ingredients of poetry and photography and stirring the pot for a delicious textured soup of creativeness!
Poetry this issue by: brad buchanan, chris buckey, mike catalano, alan catlin, nancy coffey, doug draime, laverne frith, john grey, carol hamilton,
stephen b. klein, john cantey knight, susan landon, lyn lifshin, duanne locke, john macker, sheryl l. helms, gerald nicosia, b.z. niditch, simon perchik, patricia rourke, carol rucks, judy snow, a.d. winans, don winter...
Two well-written introspective reviews... "Blues for Bird," by martin gray,
reviewed by john berbrich, and a new release from Marsh River Editions,
"Walnut from Waterloo" by sue de kelver, reviewed by karla huston.
We are blessed with the stunning photography of shane keenan, t.kilgore splake, a.d. winans, j. marcus weekley
All this for a buck?
from the interview with t. kilgore splake....
POESY: When did your photography passion surface?
TKS: Reading a Splake poem is like looking at one of your photographs. At first glance, you are not sure what to focus upon, once you figure it out, it drives a nail into your mind and hangs with you for quite sometime. How do you distinguish between the call to poetry and the call to photography? Are they two separate calls to art pulling you in different directions? Or do you have to consciously decide which to endure in for the day?
i turned to photography as an alternative art form to counter the painful times of writer's block when it felt like i was brain dead and empty of any new ideas. the search for reality through a SLR (single-lens reflex) camera viewfinder gave me a second creative outlet that tided me over the hard times "father" hemingway called his periods of "black ass."
my education in photography was a large collection of pictures in a volume, WORLD PHOTOGRAPHY that i was able to afford at a bookstore after christmas sale. thus, my film professors were the old european masters such as brassai, kertesz, and henri cartier-bresson. it is an interesting aside that these photographic artists were creating their grand works with old pre ww-ii leica cameras and slower film that would seem primitive in comparison with modern technological advances in cameras and photographic equipment.
i am not very intelligent regarding the finer aspects of "f-stops," "depth of field," "bracketing," and "exposure techniques." however, as a poet with a camera, i do possess a keen sense of when a picture has the "inner stuff," that reveals human passions, or exposes a mysterious "something" beneath the surface veneer.
i shoot almost exclusively in the black-and-white film medium, without using flash or strobe accessories. a statement from a recent bob greene newspaper column explains better than i can, my attraction to black-and-white camera work. a los angeles film observer reflected, "for me black-and-white engages my imagination in a way that color does not. it is timeless in a way that color isn't. the textures of light and shadow mirror the dark journey we all must make in solitude." yes, why can one imagine the cinematic masterpieces, "casablanca," "the treasure of sierra madre," "the third man" produced in color?