A Conversation with Rattle Poetry Journal Editor Tim Green on Rattlecast

I had the great honor and pleasure recently to join Tim Green, editor of Rattle poetry journal, as featured guest poet on his livestream, Rattlecast.

Tim and I had a really fun genre-bending conversation about poetry, music, and how music and my work as a classical musician, broadcaster, and cultural journalist informs my work as a poet – and vice versa. We also talked about how my work with music – and my mysterious poetry guardian angel – helped me become a poet in the first place. And I read from my most recent poetry collection, a silence or two.

Our conversation about words and music took place just before the publication of Rattle #85, which features a Tribute to Musicians, in which my poem “My Daddy Was an Appalachian Folksong” appears.

When I write poetry, I aim to make music with words. I spend a good deal of each day thinking and writing about music and considering how the sounds of words and the shapes of phrases and sentences can add up to vibrant writing that dances on the page and rattles in the mind’s ear.

The rhetoric of the physical body here is not strictly metaphorical. Poetry and music offer us powerfully embodied experiences as they work on and in us. We feel certain ways when we experience poems and music, and those feelings are emotional and physical.

I’ve always been fascinated by the sounds and feel of words, and also by how those sounds and feelings have come to mean what they mean. I was the kid who wondered, Gee, why do we call the sky “sky?” How did those particular letters and those particular sounds come to signify the great big blue expanse overhead? And how did “blue” come to signify the color of sky? Why not call it something else? And why call toes “toes?” Why call buttons “buttons?”

Of course, we can trace etymologies and find at least some of the ancestors of the words we speak and write today. But if I were to be teleported back in time and given the opportunity to meet the first person who ever spoke the proto-word that became “sky” or “toe” or “button,” I would ask him or her, What made you think to call this thing by these sounds?

Deep thanks to Tim Green for giving words space to dance and sing in the pages of Rattle, and for inviting me to share some of my words on Rattlecast.

Inaugural Heliosparrow Frontier Awards Honor Cutting-Edge Poetry

Photo: via Wikimedia Commons Lisa Mastino, CC BY-SA 4.0

I’m humbled to have received four First Prize honors, three Honorable Mentions, and a Special Award for haiku recently in the inaugural Heliosparrow Haiku Frontier Awards.

All of the awarded poems and the judges’ fascinating and extremely rich commentary on them are published in Helioparrow Poetry Journal and in the flipbook at this link.

The awards were created by Dr. Richard Gilbert, professor emeritus of English, Kumamoto University, and one of the world’s leading theorists and critics of contemporary English-language haiku, “to present and praise leading-edge poems and poets illuminating inspiring directions in haiku poetics.”

All of the poems under consideration for the Frontier Awards were published in Heliosparrow Poetry Journal – the world’s leading publication of avant-garde English-language haiku and poems in related genres – which Gilbert founded and edits.

Gilbert, Heliosparrow co-editor Clayton Beach, and poet Michelle Tennison served as judges for the haiku, alterku (poems that expand the haiku form), sequence/collaborative poem, and short poem categories in the contest. I was also honored to judge the haibun category, and to join Gilbert, Beach, and Tennison in judging the alterku and sequence/collaborative poem categories, in which my own work was not in the running.

Far from traditional haiku rooted in the seasons of the non-human natural world, the poems recognized in the inaugural Heliosparrow Haiku Frontier Awards reinterpret the traditional haiku form through daring language, startling imagery, bold disposition on the page, and challenging subject matter and psychological nuance.

To read these poems is to look into the future of English-language haiku.