14 May 2017

Wyoming Spring - Views from a Ranch

View from a ranch, One.

View from a ranch, Two.

View from a ranch, Three.

View from a ranch, Four.

View from a ranch, Five.

My escort, Milo.

23 April 2017

Find my Poetry 2017 - Harpur Palate

Find my poetry in the latest issue of Harpur Palate.

I'm in fine company. So pleased to be here.

Find Harpur Palate submission info on their website and read excerpts from past issues on their blog.

09 April 2017

I Joined a Cult - or - Adventures in Telecommunications

What my new iPhone 7 was supposed to be like.

In reality . . . not so much.

So, last Friday (3/31) my Samsung phone continued some ominous behavior. The battery wasn't lasting even 4 hours now, and worse yet it was heating up to where I could feel it in my pocket. Since I had to leave Monday on an out of town trip, I did the sensible thing. I got rid of it. I was overdue for a new phone anyhow. That's my story. I like new tech.

I researched and was torn between a Samsung 8 and an iPhone 7. I was used to Samsung, but I'm a bit leery of the exploding batteries fiasco and the fact my old Samsung heated up so alarmingly. Plus I had several friends offering me cookies to come to the Apple cult . . . err, iPhone side.

I do like cookies.

So here I am, with a shiny new iPhone 7. Drop proof case and screen protector? Check. Holster so I can wear it and not fish around for it? Check. Gmail and Duolingo downloaded? Check, check. I even downloaded the United and Super Shuttle apps for my trip. Ready to fly.

But— how do I turn it to silent? Finally found the little switch hiding under part of the case. How do I delete text messages? Emails? Finally figured that out after archiving emails I meant to delete. How do I get it to lock the home screen so I have to enter a password to open it? I added fingerprints, does that override the lock screen? How do I get it to quit waking up every time I pick it up? Where do you get ringtones? (Other than the lame riffs that come with the phone.)

Downloaded Instagram, where it promptly told me my password was wrong. Even though I knew it was right. So I created a new account. Then 5 days later figured out how to switch accounts. And now my password works. So you can find me on Instagram under constancegbrewer or constanceabrewer now. I have lots of middle names. It's an Italian thing.

So, people, hit me with your best apps, or features that I need to know about and are currently hiding on my phone. I have Twitter and Facebook, a German-English dictionary, a tip calculator, and that's about it. Are there any good photo apps? I love the camera on this thing, so far.  My crappy Instagram photos should improve immensely. Anything that sucks the battery down that I should disable?

Help a newbie fall in love, what can't I live without?

27 March 2017

Reading Multiple Translations

Phaeton woodblock print by Constance Brewer

I've been rereading The Iliad in bits and pieces. My translation is by Robert Fagles and while satisfactory, I find myself longing for the Shakespearean overtones of a more poetic interpretation. At least I thought I did. After poking about on the Internet, I found the verse versions translated by Alexander Pope and Ian Johnson, and the prose interpretation by Samuel Butler.

What's the difference? I think I bring different expectations to a poetry work than I do a prose work. It's not just that poetry doesn't fill the page, it's that poetry seems to depend on a richer imagery than a prose work. Poetry compresses thoughts to a narrower focus (perhaps that expectation thing) and the prose has a more leisurely build up. Every sound, every word in poetry is calculated for effect - or should be. I'm not as aware of this when I write fiction as when I write poetry. I think because my poetry is generally short, my longest poem is only seven pages. Maintaining tight focus and emotional resonance over a long poem can be difficult. Doing it over the course of the Iliad in Pope's translation always leaves me a bit awe-struck. (And twitching over some of the tortured syntax to get rhymes.)

Poetry is a souped-up Mustang driving past the police station with one tail light out. Prose is a Cadillac on the Interstate headed for a nearby town. At least that's how it seems to me. Although I love reading Shakespeare, some days the flowery language is just one more thing I don't want to wade through. I also don't care for modern day four-letter-word fests in my reading. So where does that leave me? Buying multiple translations of The Iliad. Because I don't own enough books, especially multiple copies of the same one.

Each translation offers a different interpretation of events. While essentially the same, they offer enough variation for a word fanatic to feast on for many a thought. Hence the occasional reread. It's the same with poetry, by giving myself distance from the work, I find new understanding as my experiences throughout the year color my interpretation. It seems like I'll be rereading the same books the rest of my life, an alternatively cool and scary prospect. How about you, are there books or poems you turn to for inspiration? Have you read the Iliad? Preferred translation? Is there a translation of something out there I should be reading? Besides Rilke, that is.

(Verse Form)
The Iliad, Book I
Translated by Robert Fagles

Rage—Goddess, sing the rage of Peleus' son Achilles,
murderous, doomed, that cost the Achaeans countless losses,
hurling down to the House of Death so many sturdy souls,
great fighters' souls, bu made their bodies carrion,
feasts for the dogs and birds,
and the will of Zeus was moving toward its end.
Begin, Muse, when the two first broke and clashed,
Agamemnon lord of men and brilliant Achilles.

(Verse Form)
The Iliad, Book I
Translated by Alexander Pope

Achilles' wrath, to Greece the direful spring
Of woes unnumber'd, heavenly goddess, sing!
That wrath which hurl'd to Pluto's gloomy reign
The souls of mighty chiefs untimely slain;
Whose limbs unburied on the naked shore,
Devouring dogs and hungry vultures tore.(41)
Since great Achilles and Atrides strove,
Such was the sovereign doom, and such the will of Jove!(42)

(Verse Form)
The Iliad, Book I
Translation by Ian Johnston:

Sing, Goddess, sing of the rage of Achilles, son of Peleus—
that murderous anger which condemned Achaeans
to countless agonies and threw many warrior souls
deep into Hades, leaving their dead bodies
carrion food for dogs and birds—
all in fulfillment of the will of Zeus.

(Prose Form)
The Iliad, Book I
Translated by Samuel Butler

Sing, O goddess, the anger of Achilles son of Peleus, that
brought countless ills upon the Achaeans. Many a brave soul did
it send hurrying down to Hades, and many a hero did it yield a
prey to dogs and vultures, for so were the counsels of Jove
fulfilled from the day on which the son of Atreus, king of men,
and great Achilles, first fell out with one another.

12 March 2017

Japanese Short Forms

Undercover gnome ponders Haibun.

Whenever I feel my poetry getting scattered or disjointed I delve back into some Japanese poetical forms – namely haiku, tanka and haibun. 

I like haiku for the rigid requirements it makes me place on myself – how can I say something relevant or profound in such a short space? The idea is to create an image and a response to that image in very little space. Just because the poems are short doesn’t mean they are easy to write. Same with tanka. Haibun is a new form for me, sort of a “what would happen if a haiku and a prose poem got together and had a child” kind of format. I've only written a few, and I'm not happy with them yet. It may be my discomfort with prose poems holding me back, or my liking of haiku standing alone. We will see if I can push past all that. In the mean time, I use haiku and tanka to reconnect myself with the essence of poetry. When poems come as small, quiet thoughts rather than big missives, haiku is the way to go. 

A refresher: 
Haiku – Japanese short form poetry of around 17 syllables that typically has a seasonal reference (kigo) and a ‘cutting’ word (kireji) or phrase.  The syllable count is a guideline since Japanese sounds are generally shorter than their English counterparts, and 12 syllables seems to be closer to the Japanese intent than the 17.  The seasonal word is a requirement for traditional haiku poets, not so much for more modern and English poems.  The kigo can use events, weather patterns, seasonal conditions and seasonal markers to clue the reader in to what season is being referenced. It’s also used as a shorthand way of cueing the reader in to an emotion connected with the season word. The cutting word or kireji is often used as a bridge to enhance the images used by the poet. It’s another one of those things that is distinctly Japanese and hard to translate to the English language.

The most famous haiku is from Bashō—

furuike ya kawazu tobikomu mizu no oto

old pond . . .
a frog leaps in
water sound

my favorite:
                Though I'm in Kyoto
                when the cuckoo sings
                I long for Kyoto

Another haiku poet is Kobayashi Issa

A tethered horse,
      in both stirrups.

In the cherry blossom's shade
    there is no such thing
          as a stranger

Tanka – The bad thing about trying to find a tanka (or even haiku) definition, is that in English, we seem to be hell bent on describing the poem form by how many syllables and lines it has, rather than on the spirit or intent. If you know anything about poets, you know rules were made to be bent, twisted, broken, and reformed, syllable count be damned.

Here is a definition from Wikipedia:
“Tanka consists of five units (often treated as separate lines when Romanized or translated) usually with the following pattern of onji:

The 5-7-5 is called the kami-no-ku ("upper phrase"), and the 7-7 is called the shimo-no-ku ("lower phrase"). Tanka is a much older form of Japanese poetry than haiku.”
From AmericanTanka.com: “A tanka is a five-line poem that evokes a single moment with vivid precision and emotional veracity.”

Tanka by Yosano Akiko

Goodbye my love
For a night at Fuzan spring
I was your wife.
Now until the end of the world
I demand that you forget me.

It was only
the thin thread of a cloud,
almost transparent,
leading me along the way
like an ancient sacred song.

Haibun definition from Wikipedia:
"Haibun  is a literary composition that combines prose and haiku. The range of haibun is broad and includes, but is not limited to, the following forms of prose: autobiography, biography, diary, essay, historiography, prose poem, short story and travel literature.

A haibun may record a scene, or a special moment, in a highly descriptive and objective manner or may occupy a wholly fictional or dream-like space. The accompanying haiku may have a direct or subtle relationship with the prose and encompass or hint at the gist of what is recorded in the prose sections."
A haibun example from Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry


It's so dry the dirt along the bike path has changed color. Last year the kids and I searched for crawdads in the adjacent stream. Now pebbles and stones rest without reflection, leaving only a few dark puddles closely guarded by trees. Our family walk interrupted — a couple of boys with sharpened spears jabbing at fish. They look up, throw down their sticks and run. I send my son to the trash can, my daughter and I taking off our shoes to wait.

He returns with 2 cups, super-sized. We spend the next half hour shuttling fish, a pond not far away. I make up a song, Fish Rescue. By the last trip, both children have memorized the refrain.

Sometimes I still wonder if I'm doing it right.

    slam of a car door
    our dog runs
    as fast as he can

Is anyone out there writing haibun? Or even prose poetry? Tell me that haibun is not as complicated as I'm making it out to be - or that my haiku sometimes could use a companion to pal around with. .  .