I’ve been remiss in updating this here blog, so, here’s some cool stuff…
This is a video Marie Craven made for my poem “Below” found at The Poetry Storehouse. Needless to say, I was blown away by this and am very grateful for the time and effort she put into remixing my poem.
This is the second of my poems to be remixed into video lately (the first was a remix by NS of “A Necklace for the Goddess of the Empty Sea”) and the experience is fascinating. I don’t always feel like I know where my poems come from and sometimes I’m surprised to see what I’m thinking. It’s interesting, then, to find out what another artist sees in my work.
I’m filled enough with gratitude when someone takes the time to read what I’ve written, but it’s a humbling thing to know that someone has taken the time with it not just to read it but to try to know it and then bring it to life in a whole new way. So, thank you Marie for “Below” and also to NS for “Empty Sea” and for creating the soon-to-be-phased-out Poetry Storehouse. These are truly gifts that left me speechless.
Marie wrote up some process notes about the video on her blog, along with notes for two other videos she’s recently done. Three of Marie’s videos have appeared at Gnarled Oak, and you can see even more on her Vimeo page. Or explore her website, pixieguts.com, where you can check out her musical work too.
A few weeks ago, Dave Bonta put out a call for haiku based on a video clip with which he intended to experiment in an effort to develop a new approach to videohaiku. He wound up using lines that I supplied and we worked on editing and revising them to come up with the above video.
Dave wrote extensive process notes at Moving Poems, and I don’t have much to add other than that the collaboration was fun and produced an interesting result. Here’s Dave:
This collaboratively produced videopoem with text by James Brush represents a new approach to videohaiku for me: one in which the first part of the haiku is represented by film footage, which freezes and transitions to text roughly where a mid-poem kireji or cutting word would occur in a Japanese haiku.
James had started with a rather high-concept idea and pared it down in the course of three drafts. I suggested two further edits. What finally emerged was this:
how your hands burn
for the sun
with the ellipsis standing in for the footage of the baby in a meadow waving a daisy around. (One could even make it fit into a line: babe with a flower, say, or toddler in the yard.)
As I mentioned above, it’s a kick to have one’s words envideoed, and I’m grateful to Dave for taking the time to play with a few of mine. I’ll have to try this technique for myself sometime.
Two Poems Published
As mentioned yesterday, my poem “Sorrow” is in Right Hand Pointing Issue 82: an absence at the center. This is the second time I’ve had a poem appear at RHP and it is quite an honor to be there.
And finally, my poem “Trigger” was included in the anthology/prompt book/workbook Poem Your Heart Out (Words Dance Publishing anthology, Dec 2014). “Trigger” was the winner for April 29 in the Poetic Asides Poem-a-Day Challenge back in April. The book contains the 30 winning poems for the month. My Poems “Sticky Note” (April 3) and “The Summer Forecast” (Apr 18) were finalists on their respective days.
Ok. Enough about me… go read Gnarled Oak.