Today: Denise Duhamel at Emory!

Duhamel reads tonight at Emory University.  The reading starts at 8pm in the multipurpose room at Few Hall. Parking is available in the Peavine Lot. To get to Few Hall, turn left out of Peavine and walk along Eagle Row, passing the Greek houses. Few Hall is the second dorm on your right at the end of the Greek houses.

In other news, the Limp Wrist sponsored workshop will not take place on Friday.  (Blame the economy!)

Workshop w/ Denise Duhamel

Limp Wrist presents a workshop with Denise Duhamel!

Only 7 spots left;  reserve your spot today!

PLEASE, share the information below…

DETAILS
Description: MEMORY AND DESIRE: This generative workshop will focus on writing exercises and prompts that focus on obsessions and the poetic forms they can take.
Date: 2/26/10
Time: 6pm to 9pm
Cost: $75*
Location: TBA (will be in the city of Atlanta or at least ITP)

Anyone interested should send an email to dustinvbrookshire@gmail.com; put “Workshop w/ Denise Duhamel” in the subject line.

*Part of the proceeds from the workshop will fund the Limp Wrist Scholarship.

Double Ds: David Trinidad

trinidad

David Trinidad joins the Double Ds!

Trinidad is a member of the Core Poetry Faculty at Columbia College Chicago. His most recent book of poems is The Late Show, published by Turtle Point Press in 2007.  His other books include Phoebe 2002: An Essay in Verse (Turtle Point, 2003), Plasticville (Turtle Point, 2000, finalist for the Lenore Marshall Poetry Prize of the Academy of American Poets), Answer Song (High Risk/Serpent’s Tail, 1994), Hand Over Heart: Poems 1981-1988 (Amethyst Press, 1991), and Pavane (Sherwood Press, 1981). Trinidad has been called “a master of the postmodern pop-culture sublime.” His work is also associated with the innovative formalism of the New York School. Alice Notley has written, “There is an unwavering light in all of Trinidad’s work that turns individual words into objects, new facts.”

 

Denise asks:
While your poetry is formal, I think you are a Reform School poet, meaning that you use form in truly unexpected ways.  Of all the “received” forms, which are you most comfortable writing?

David Trinidad:
The haiku is the first form I played around with, in the eighties, and is the one I return to most often.  I like the tininess of it (haikus are the miniatures of received forms!) and the obsessiveness of counting syllables, having to compress everything into so little a space.  Yet a good haiku opens up, makes it seem bigger than it is.  I guess that’s the payoff.  And being able to use the form in an unexpected way.  At heart I think forms are pretty silly.  That puts me in Reform School for sure.  I’m currently working on a piece called “Peyton Place: A Haiku Soap Opera.”  I watch an episode of PEYTON PLACE (the TV series from the sixties) then write a haiku about it.  The only rules are: 1) I can’t watch the next episode until I finish the previous haiku, and 2) Every time Ryan O’Neal takes off his shirt, I have to mention it.  There are over 500 episodes of PEYTON PLACE.  Can’t you see it: a pop haiku epic!  Wonderful, but ridiculous too.

 

 

Dustin asks:
If you were in charge of selecting People’s Sexiest Man Alive, who would you pick?

David Trinidad:
If we’re talking pure testosterone, I’d have to say Jon Hamm of MAD MEN.  (If he can do a Yorkshire accent, don’t you think he’d make a perfect Ted Hughes?)  But if we’re talking about the whole package, I’d have to say that I always react quite favorably to Justin Bartha (of NATIONAL TREASURE fame).

The Double Ds: A ReadWritePoem Column w/ Denise Duhamel

The Double Ds
Want to know more about your favorite poets? In this monthly column, Dustin Brookshire and Denise Duhamel will ask a poet one poetry-related and one non-poetry-related question. Respondents’ answers will surprise and delight you. Look for Marilyn Nelson, Dara Wier, David Trinidad and Patricia Smith as part of this exciting series.

"Wreckage" in Ducts & Duhamel Interview

Check out “Wreckage” in the current issue of Ducts. “Wreckage” is from my chapbook manuscript. Beth Gylys read the manuscript, and she had this to say:

The collection is powerful and hard to read, and you should be proud of yourself for having the courage to write those poems.

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Denise Duhamel interview in BOMB.

Ouroboros Review #3

I am thrilled to have “Mercy” and “The List” as well as interview with Denise Duhamel in the third issue of the Ouroboros Review along with work by Denise Duhamel, Karen Head, Matthew Hittinger, Michelle McGrane, Rupert Fike, and many more.

Having “The List” published has put a huge smile on my face because it is one of my personal faves out of all the poems I’ve written. I wrote it when I was 20 or 21, and I never had any luck when I’d send it out to mags/journals/etc. Here is a big ole THANK YOU toJo and Christine for giving “The List” a home!

Denise Duhamel has two poems in Ouroboros Review #3. One of the poems, “Queen Colleen,” was written in response to a challenge I gave Denise back in March of this year. Don’t forget to check out “Queen Colleen.”

Happy Birthday Denise Duhamel

HAPPY BIRTHDAY DENISE DUHAMEL!

I’m posting links to Denise Duhamel related items in honor of her birthday. Drop by the Fans of Duhamel Duhamel or A Group of Duhamalites to leave her a birthday message. Enjoy the links.

One of my favorite Denise poems, “Sometimes The First Boys Don’t Count.”

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Denise reading at Books & Books; plus, there is a statement from Denise on light verse in her work.

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Denise’s brilliant poem in the “How I Discovered Poetry” series.

Denise’s “Fathers” in Ducts.
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Brief interview with Denise in I Was Born Doing Reference Work in Sin.
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Denise’s “A Different Story” in The American Poetry Review.
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Denise interviewed in Limp Wrist.

Denise Duhamel Comments on Light Verse

Denise Duhamel at Books and Books from Andrew Hevia on Vimeo.

Over at Fans of Denise Duhamel OR A Group of Duhamalites, Denise answers a question a month from a member of the FB Group. I’m sharing the May question and answer.

Question from Dustin Brookshire:
Recently, Steve Fellner (poet and critic) wrote an entry in his blog, Pansy Poetics, analyzing some of your poetry. His blog entry led to a series of great comments from his readers and a discussion on Light Verse in your work. The comments have led me to ask this: What role do you think Light Verse plays in contemporary poetry? (Click here for Steve’s post on Denise’s work.)

Denise Duhamel’s Answer:
I saw that. At first, I must admit that I was horrified that Steve Fellner—whose work I love! I chose is first book for the Marsh Hawk prize—thought some of my poems were “light verse.” In my mind, light verse was synonymous with silliness. I guest-edited an issue of a literary magazine Ocho called “Florida Funnies” and I am now co-editing an issue of essays about humor in contemporary poetry for a linguistics magazine Humor. I hadn’t really even brought up the term light verse. I think, as Sean points out in one of the blog comments, “because of consumer culture, light=less than? Less calories, less fat, less flavor?” I thought that too. I even thought “Lite Poetry.” But researching light verse, and seeing its long and proud tradition, I am happy to be included. (Puns? Guilty as charged. Alliteration? Guilty as charged. Wordplay? Guilty as charge.) A lot of poets feel similarly afraid of the term “confessional,” which has recently gotten a bad rap. So poets with confessional leanings might deny they are writing confessional poetry or try to call it something else. In any case, in the end, I am happy that Steve associated my work with light verse—or even camp. While Steve is perfectly correct in quoting Sontag, she also says that camp is a way of consuming or performing culture “in quotation marks.” And I really do feel I try to do that, so I’m no longer leery of the labels light verse or camp. I like Steve’s blog for the questions it raises about contemporary poetry and trying to categorize it. Do you remember that clapping song? Categories, names of…Colors…Then each child would clap and say a color until they couldn’t think of any more. We could do the same for Poetry.

Child one: Categories.

Child two: Names of.

Child one: Poetry

Child two: Light verse.

Child one: Confessional.

Child two: L=A=N=G=U=A=G=E.

Child one: Formal.

Child two: Post-confessional.

Child one: Transgressive.

Child two: Of Witness.

Child one: Neo-formal.

Child two: Feminist.

Child one: New York School.

Child two: New York School—second generation.

Child one: New York School—third generation.

Child two: Oulipo.

Child two: Harlem Renaissance.

Child one: Nature.

Child one: Surreal.

Child two: Beat.

Child one: Romantic.

Child two: Modern.

Child one: Post-modern.

Child two: Dada.

Child two: Prose poems.

Child one: Haiku.

Child one: Pansy Poetics…

Having said that, I think Light Verse may play a part in contemporary American poetry in that it’s a way to fight back against the jingle, the slogan, our consumer culture. Maybe we need tee shirts? Heavyweights of Light Verse.

KA-CHING! Reviewed in Entertainment Weekly

Verse Things Verse: What better poetry for the current economic period than Denise Duhamel’s hymns to money, ATMs, her IRA 
 accounts, the Treasury, gambling…and Sean Penn?

Sample Lines: ”I still see the poet in you, Sean Penn/ You probably think fans like me are your penance…”

Bottom Line: Learn and have fun while you read: Using prose poems, 
sonnets, sestinas, and other forms in Ka-Ching!, Duhamel is a wily technician, a touching humanist, a poet deserving stardom.

Grade: A
By: Ken Tucker