Category Archives: Publication

WIND INTERVALS book launch update!

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As the publication date of Wind Intervals — and its accompanying book launch on April 28 at Black Swan Books in Staunton, VA — draws near, I took some time this morning to drive over Afton Mountain to visit Emily Hancock at St Brigid Press to get a glimpse of the first bound books. (Of course I took a few copies away with me.)

It may be because I brought Emily a big cup of black coffee which she really did not need, but soon we were engaged in a rambling high speed talk about what it’s like to be the designer and printer of a book of poems in a letterpress environment. I started recording about halfway into our talk and wanted to share it with you in case hearing two people get nerdy about printing presses and book design and handmade paper is your Kind of Thing.

We talk about the making of the amazing hand-made cover paper for the special edition of Wind Intervals (seen in the photo above); how it’s likely that a letterpress printer spends more time typesetting and printing a poem than the poet spends writing the poem; we introduce weird words like “couching” — pronounced “cooching” — to the Poor Listener; we talk (I think!) about the use of actual Japanese maple leafs for illustrative printing inside the book; we talk about the relative stupidity of deciding to go with leaf print illustrations in the dead of winter when there are no leaves to go out and pluck from the trees outside; and Emily talks about the makeup of the two editions of the book and the materials that went into each.

The Japanese maple that loaned us the leaves for the illustrations stands just about twenty feet from the entrance to the Press. It’s in full leaf now, as is much of the mountainous area around us.

If any of that interests you, check out our rambling and entirely unedited conversation below or here.

To find out more about Wind Intervals and to pre-order a copy before the April 28th book launch, check out the blog at St Brigid Press.

Publications: Wind Intervals

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I’m excited to announce that St Brigid Press will be publishing a beautiful letterpress edition of a selection of my poems, Wind Intervals, in late April — just in time for National Poetry Month.

The book will be hand-set in Bembo type, printed on a beautiful and rugged 1909 Golding Pearl treadle press on the other side of Afton Mountain at St Brigid’s not-entirely-top-secret headquarters, guarded by trees, a gregarious dog and stunning mountain views.

There will be a Standard Edition, hand-bound at the Press and limited to 150 numbered copies ($24), and a Special Edition, limited to 35 numbered and signed copies, printed on Revere Book mouldmade text paper and hand-bound with St Armand handmade covers ($35).

You can hear me read two of the poems from the book here on the St Brigid Press site.

The book’s publication date is April 28, 2017. We’ll gather at Black Swan for a book launch and reading. If you pre-order with St Brigid and cannot make the trek to Staunton, I’ll gladly sign copies at the launch before they are shipped.

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As you can imagine, creating a letterpress book involves considerable work, including setting each letter (and space!) by hand in metal type. On a Golding press, the type is actually suspended type-side down for printing (which somehow seems right for my poetry!) after being locked tightly into place by wooden blocks and metal quoins.

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I will keep you updated as work on Wind Intervals proceeds! Check out the St Brigid Press site for more information on the book, additional photos of the book creation process, and to hear two of the poems.

Interview with St Brigid Press

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“Much of our experience takes place in an interior landscape. But … the most mindful way to access that seems to be through the external landscape.”

Emily Hancock of St Brigid Press interviewed me May 20 at the SBP printshop in Afton, Virginia. You can hear the interview and read the transcript here.

St Brigid Press will be publishing a chapbook of my work, Wind Intervals, in the late summer.

Publications- Moonlight & Shadow: An Imaginary Portrait of Mei Yao-ch’en

Following is the Author’s Note to Moonlight & Shadow: An Imaginary Portrait of Mei Yao-ch’en, which collects the 38 poems about the time-traveling 11th-century Chinese poet Mei Yao-ch’en. Many of which appeared originally on this site, and it was the great response to the first handful of appearances by Mei that led to this book-length collection.

Moonlight & Shadow is being published as a limited edition of 20 copies, signed and numbered, in a large 11×14 format with hand-crafted covers bound in an ancient Chinese side-bound style by St Brigid Press. At the bottom of this post is a special ink to reserve a copy at a 35% discount. More information about the book and its design can be found on the Books page.

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 AUTHOR’S NOTE

MANY of the more intrepid readers of my site Translations from the English know that for most of 2014 I was at work on a sequence of poems about 11th century Chinese poet Mei Yao-ch’en, the premise of which includes me somehow transporting him in the midst of his forty-ninth year to that same moment in my life here in the 21st century; that as Sung dynasty poets tended to do, Mei and I thought time and distance less important than wine and friendship, and that he heroically and generously consented and contented himself with being a guest in my house (and millennium) for some undetermined duration, taking it upon himself to write home occasionally about his experiences, sometimes to his friend (and his brother in law’s son) Hsieh Shih-hou.

The poems in this book, then, are in Mei Yao-ch’en’s voice. The titles are in mine — in the absence of the proper writing materials, Mei records his thoughts on walls, towels, shower curtains, poster board, on the underside of a Christmas tree skirt, whatever is at hand, much like his predecessor Han Shan was said to scrawl his poems on rocks, trees, and monastery walls — and I translate and record them, adding long explanatory titles which are themselves the type of titles that were very much part of the social transmission of poetry of the Northern Sung dynasty of Mei’s time.

I call these poems an “imaginary portrait” because, of course, the words are not Mei’s, and while I’m not sure they are entirely mine, either, there is no one else about to take credit or responsibility for them; so they are those of a Mei of my own making, and they do across their breadth begin to sketch out a portrait of that poet for twenty-first century readers. Also, in the first and only book I was able to find about Mei’s life and work, the cover and verso of the half-title page are adorned with an image of Mei that is described as an “imaginary portrait” painted roughly six hundred years after his death. Honestly, I thought if someone could take a shot at painting the guy’s likeness after six centuries, could I trespass any more on the truth by trying to throw him a thousand years into the future and read his mind?

I was moved to write about Mei after reading wonderful translations by David Hinton and Kenneth Rexroth. Seeking out additional information I found the book mentioned above, Mei Yao-ch’en and the Development of Early Sung Poetry, by Jonathan Chaves. Published in 1976, it is a gold mine of biographical information, critical perspective, and translations of dozens of Mei’s poems. I found it just after I had written the first one or two poems about Mei and decided I’d write more.

In the spring of 2014 I made contact with Professor Chaves, who teaches in Washington, DC at George Washington University, to thank him for a book he wrote forty years ago. To my surprise anddelight, Professor Chaves responded the next day, and added: “In Spring of 2011 I visited Mei Yao-ch’en’s hometown of Hsuancheng / Xuanchang in Anhui Province, where a new monumental statue has been erected in commemoration of him.” He included photos of the monument in its in-progress state, which may by now have been completed. It’s good to know my old friend’s work is getting the attention it deserves.

I found additional insight into Mei’s life as a poet by reading The Social Circulation of Poetry in the Mid-Northern Song, by Colin S.C. Hawes. It contains several translations of Mei poems I have not found in translation elsewhere, and even more of Mei’s good friend and fellow poet Ou-yang Hsiu.

The Afterword of this book contains a translation of Mei Yao-ch’en’s poem “Night”. This translation is my own, done with the great help of Chen Zhang, who at the time of this writing was serving as Literary Chinese Preceptor at Harvard University, and who provided insight into the Traditional Chinese characters of the Sung dynasty poets. The sum of what Ms Zhang provided me in my struggle to translate a single poem of Mei’s is far greater than what shows up in the merit of the translation. I made this attempt mostly to introduce to readers of contemporary English-language poetry a poem of Mei Yao-ch’en’s which had never been translated before; to absorb directly an appreciation of the actual work of translation; and to offer it as a token of appreciation and gratitude to Mei Yao-ch’en himself.

A Note on Unregulated Verse

Much of the great classical Chinese poetry is written in a style called regulated verse. The regulations of this form do not translate into any English form of verse, any more than Traditional Chinese characters translate to single English words or syllabic counts translate from Chinese to English. But I did gain some appreciation for at least the translated effects of regulated verse in the course of reading and re-reading thousands of wonderful poems from the T’ang and Sung dynasty, through the insightful translations of David Hinton, Red Pine, J.P. Seaton, Kenneth Rexroth, Witter Bynner and Kiang Kang-Hu, and others; and so the form that Mei Yao-ch’en ostensibily utilizes in this collection, called by me “unregulated verse,” does indeed have its characteristics, most of which pay homage, technically or thematically, to regulated verse and the themes and memes of that work, strained (much like the ancients strained their wine before writing their poems) through a sieve of centuries, and newly tainted with the road dust of the mere fifty years of this individual’s flawed vessel. The result of certain characteristics of this form may result in what looks like inconsistent punctuation and other anomalies. My only assurance is that there is a form, and for those seeming inconsistencies I’m willing to take full blame, knowing this is one of the perils of translating one’s own work.   JS

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Ten of the 20 numbered and signed copies of Moonlight & Shadow are being offered for sale. For a limited time you can reserve a copy at 35% discounted price of $75  here.

 

Publications: Beloit Poetry Journal

While I await the Winter issue of Beloit Poetry Journal, where two of my poems from the Mei Yao-ch’en sequence will appear, I wanted to direct readers to my favorite poem from BPJ’s Fall 2015 issue, “Passerines” by Kerrin McCadden.

The entire Mei sequence, all 38 poems full of long titles and mostly shorter poems, will be released in a limited edition (20 copies) bound by St Brigid Press. I’ll have some more information about the book, titled Moonlight & Shadow: An Imaginary Portrait of Mei Yao-ch’en, in the coming days.

In the meantime, please take a moment and check out this wonderful poem in Beloit Poetry Journal.

Of Physics and Publications: Beloit Poetry Journal

First, apologies for my relative absence from this site and yours, with only two poems poking their scruffy heads up over the last five weeks or so. I was in a battle with the laws of physics. More specifically, I was taking a physics course at the University of Virginia. It’s a long story. Okay, it’s not that long a story. It was only because I have lived in this physical world for so long already that I managed to survive, more by wits than learning. At any rate, the transcript for the course is now on its way to my undergraduate home, 28 years after I took my last undergraduate class, to fulfill a distribution requirement unrelated to my field of study. And at some point before the leaves fall off the trees this year, some document attesting to my B.A. in English from Cornell University should actually reach me. What was it like for a fifty year old guy attending a summer course with 18 year old athletes and pre-freshmen?

Long story. But one I’ll tell in time, if there is no more pressing news. But for today, there actually is some news.

During this time of my Sisyphean struggle with inertia, momentum, torque, and midterms, I received notice from Beloit Poetry Journal that they wish to publish a few of my poems.

I am guessing most of you are familiar with BPJ, but if not, feel free to pay them a visit here. My poems will appear in the Winter 2015 issue.

For the moment, I am happily relieved of my recent burdens–remembering the relationship of energy to volts to power to current, and so on–and prepared to get back to writing poetry. I hope you’re still out there to read some, and I will once again be lurking around your own sites to read all that I’ve missed since mid-July.

Full Moon Social Anthology 1 [#fullmoonsocial2014]

Seriously nearly-full moon not taking any nonsense--join the FullMoonSocial2014 on Wednesday.

The idea was simple–let’s all gaze at the moon together, wherever we are, and share our words and images. Let’s have a full moon social event that the Ancients would understand and appreciate.

On October 8, 2014 WordPress and Twitter sparkled with poems, prose fragments, and photos from an assortment of creative folk using the hashtag #fullmoonsocial2014. It was a fun night to moon-gaze — and to refresh our searches on that tag to see what new poem or photo had popped up.

As much as I could, and with the permission of the authors, I have gathered this work into a humble anthology, available in PDF format. While designed like a traditional book, and without the website-inspired underlining, the websites or Twitter handles of each contributors are live links which will take you directly to their sites to find out more about the author and her/his work. The Contents pages are likewise linked to the book as well.

Please feel free to download it here, as a keepsake and a thank-you from me for joining in, to write, contribute, and to read. Any typos or other issues are mine, and please do not hesitate in letting me know if some adjustment needs to be made.

Likewise, if you’re an author or artist or photographer who contributed to the Full Moon Social but you don’t see your work here, let me know and I’ll add it in.

And if anyone’s interested in doing it again…