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Joshua Macy

Look, you own your own stuff, so why the hell not publish it on the web? Because someday some "real" poetry publisher might spurn it for having been already exposed? How long are you going to wait until you decide that's not going to happen, and how many people could have read your poetry in the meantime? Seems to me that the entire world has conspired to grant you a publishing mechanism undreamt of in scope and efficiency by any previous generation of poets, and you'd be nuts not to take full advantage of that. Do you want to be read, or do you just want the imprimatur of some poetry editor stamping your work "official poetry"? Where's your fabled fierceness? Kick out the jams!

Joshua Macy

Oh, and why aren't you doing a poetry podcast?

Liz Henry

I have been thinking hard about the poetry podcast and that's why I went to Susan Kitchens' "How to Start a Podcast" workshop at Blogher.

About publishing myself I am a big believer in it. I am not waiting for big journals. I am not even submitting to them. and i like web journals and do send to them when i ever get up the oomph to send anything out. BUT... I have a big but. If I ever want to get any kind of grant, I don't even qualify to apply for one without a certain number of pages published and not by myself. I am about to go count pages for the translation nea grant for 2007 and i still dont think I qualify unless either Z. M.'s book was published in buenos aires and she hasn't answered me (another email i have to nerve myself to write) and unless y.o.'s book published in israel gave me credit officially which I thought we had agreed on and now she has agreed on, (and says (verbal) i can send out the stuff to wherever in the u .s.) but horribly i have not seen the book and so am not sure. (Another hard email i have to write.)

Quilty

hey liz,

works published in 1936 might be in public domain too ... you should check on (A) venezuela's copyright terms, and (B) if it was ever published in US or if venezuela was a signatory to a copyright treaty with the US then there is a US copyright to deal with but again works published 1923 & after may still be in public domain, depending on whether they were registered, renewed, etc.

more info at http://fairusenetwork.org/reference/c-term.php

... actually ping me because i'm curious about this.

Liz Henry

i know... i've read that stuff and I still don't understand, actually.

again... I have dozens ... dozens... of these authors.

e

i get all this, these are the things we go through, but in all of this i detect two clunkers i just must call you on:

Probably will find out that some "real" person is already on top of it.

and

but for that time i had a brief vision of what was possible and it was sweet. I accept that will never happen again.

i know what you are saying, t'was ever thus and i'm not saying i don't suffer from the same sorts of thinking, but it's so much clearer in another: don't do this to yourself. vent, bitch about it, yes. don't accept any of it.

Joshua Macy

Cool. I look forward to your podcast.

Seymour

Liz:

FWIW, I read this June Jordan essay this evening, and it made me come back and re-read your post:

For the Sake of People’s Poetry
Walt Whitman and the Rest of Us.
June Jordan, 2002

http://www.poetryfoundation.org/archive/feature.html?id=178489

Her take on why certain work gets endorsed by the powers that be was worth the read. You may have seen it already, but it was new to me.

badgerbag

Hey thanks Seymour! Yes it's a good essay! I am actually right now translating gabriela mistral and reading a bio of langston hughes. So, especially relevant. I would even further argue about Neruda that the few poems of his that are popularized in the u.s. are some of the worst ones... i.e. the often annoyingly sexist and objectifying love poetry is the focus at the expense of the thoughtful & beautiful political.

i have to wonder at mistral.... okay... but actually for what jordan is talking about i could think of others. maybe i need to read more mistral, but here, I am suspicious.

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